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ACE 18
///ACE Eighteen; NOFX, Andy Warhol, the Techno Issue I
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ACE, the music zine, issue 18.
//:spot
The entering spot
-------------------------------------------------------------------------------
by Eerie.
"She said: 'Dark is not the opposite of light, it's the absence of light.'
And i said to myself: 'What is she talking about?'"
(Beastie Boys)
The other day I met that guy and he told me: "Dude, you owe me 400 bucks."
Next thing you know, I get a haircut, I do a new resume (wrote a gigantic
"YOU NEED ME" on the front page) and go to get a new job.
Why am I saying that? I want you to relate, bastard.
Oh well. Welcome to this new issue of ACE, the most radical & def electronic
new music zine ever written on this side of the world.
It's issue #18. In Canada, this zine is considered as an adult. In the
States, we're gonna have to wait for issue #21.
Ha ha ha. How silly.
Starting from this month we'll be expanding our horizons to some stuff that
is often associated with new music. As an example, this month, Paranoid (a
new & very appreciated contributor) honours us with a really elite article on
Andy Warhol and his cinema producer carreer.
On the musical side, it's always the same, only more calm this month, since
we decided we'd actually respect the deadline -- I think only Neuromancer
couldn't do anything in time, put apart three reviews that were accidently
left over from #17. :) TNT wrote an article on NOFX, since they're
releasing a new album, and that's about all 'cuz we're a bunch of lazy bums.
This leads me to the topic of writing. As silly as this may sound, we can't
do all of this alone, every month. Why wouldn't you be writing for us,
instead of showing your trendiness by starting yet another music-related
e-zine? We're always open for writers, so don't hesitate to contact us,
either on Patriotic Shock (or any decent 418 board) or on That Stupid Place,
the DTO world HQ that's ran by Mogel. (I don't remember its number by heart,
but I call there pretty often.)
Onto other news, we've got positive feedback about our new reader that's now
Browser compatible, and we're gonna re-release issues #13 to #16 under that
new format anytime soon under the name ACE_OLD.ZIP. Watch for it.
Alright, I think that's all. It's a 80k issue we're giving you for free, so
you better read it all and enjoy it or we'll go at your place and beat the
shit out of your pitiful self.
//end spot
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In this issue
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Columns
-------
The Entering Spot, by Eerie //goto :spot
ACE Credits //goto :credits
Snap, Crackle, Punk -- Top 95 Punk, by The Naughty Tycoon //goto :punk
Plastic thoughts for plastic people, by Eerie //goto :plastic
Eight-testicled pogo article, by Pink Lincoln //goto :eight
Some, her, these -- There is no (few)ture for you, by Redge //goto :some
Features
--------
NOFX -- Stickin' in my tape, by The Naughty Tycoon //goto :nofx
Andy Warhol -- Tribute to the worst film director of all times, by Paranoid //goto :warhol
The Techno Issue, part I, by Pink Lincoln //goto :techno
Discography -- Screeching Weasel, by The Naughty Tycoon //goto :disco
Reviews
-------
Reviews //goto :reviews
The Oldies //goto :oldies
I hate singles, by Eerie //goto :singles
The Compiler's Picks, by The Naughty Tycoon //goto :comp
Picklists //goto :pick
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Miscellaneous
-------------
Inside stuff, for members to read //goto :inside
ACE Application Generator //goto acecore:app
ACE Automated Zine Printer //goto acecore:print
//noprint off
//end contents
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//:credits
Credits for ACE issue eighteen
-------------------------------------------------------------------------------
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:
Eerie, Pink Lincoln, The Naughty Tycoon.
Contributing writers:
Eerie, Neuromancer, Paranoid, Pink Lincoln, Redge, The Naughty Tycoon.
Contributing artists:
Eerie, Fluor.
BBS:
Patriotic Shock, +1-418-843-8919.
Internet:
wedont@care.about.internet.yet.com.
Snail Mail:
24, Pierre-Curie, Loretteville (Qubec), Canada G2A 2H1.
Thanks for reading ACE.
//end credits
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//:punk
Snap, Crackle, Punk -- Wasn't that supposed to be a column?
-------------------------------------------------------------------------------
by The Naughty Tycoon.
As I think I've pretty much bled dry the "tree of topics" (does a tree
_bleed_? anyway), I'll just rehash Black Francis' great idea (I know, that's
ripping off, but he didn't call the copyrights office, did he?) and offer you
_the best punk songs of 1995_.
(Okay. I feel like I need to put a disclaimer right here. Included in this
list are songs that may not be even remotely punk, but this sounded like a
good introduction, and I'M NOT GONNA CHANGE IT in any way, right? Still,
feel free to send hate mail -- I know there's much to argue about in there.)
By the way, this is gonna be a reverse order. I know it's totally useless
because you'll probably skip all the other picks and just read pick #1, but
anyway.
20. IT'S NOT OVER (Face To Face, from the LP "Big Choice") "Big Choice"
really isn't a classic album, but this song has great harmonies. It would
have scored higher if the same damn verse hadn't been repeated 3 times in a
row..
19. DON'T ASK DON'T TELL (Sicko, from the LP "Chef Boy R U Dumb") The
only Sicko song where I noticed some kind of "Fat Wreck Chords" feel to it.
Lots of energy, great.
18. PUNK NO DIE (Total Chaos, from the LP "Patriotic Shock") Probably
the most violent song on Total Chaos' latest. Lasts 1 minute, which is great
for that kind of tune..
17. IN A MOMENT (No Fun At All, from the LP "Out Of Bounds") Have you
noticed a Swedish attack lately? This is the song I like the most from No Fun
At All's latest. Now STOP TRYING TO SOUND LIKE PENNYWISE!
16. STILL IN A PUNK BAND (Funeral Oration, from the self-titled LP) I
put this one in even if I like the album as a whole. Only problem is that the
lyrics are really not original, you know "mom and dad don't understand it"
and stuff..
15. HETEROBASH WAS FLIPPER (Gus, from the 7-incher "Heterobash Was Flipper")
Now if this isn't aggressive, I wonder what it is! I really like the
answering machine intro.. (Gotta hear it to understand it)
14. SIX A.M. (Screeching Weasel, from the LP "Kill the Musicians") I
think it's the only unreleased song that is on "Kill The Musicians", and it's
truly great. Ben said he wrote the whole song (including the guitar theme and
all the lyrics) while driving.
13. SHE'S A CRETIN (The Queers, from the LP "Move Back Home") "Move
Back Home" is clearly not as good as "Beat Off" or "Love Songs For The
Retarded", maybe that's why I dig this song more than any other on the album.
Still, it's a cool song, totally Queers-like.
12. ALL FALL DOWN (Good Riddance, from the LP "For God And Country") Is
Russ screaming or what? Yeah, I guess so.
11. FOR GOOD MEASURE (The Iconoclasts, from the split 7-incher w/ Blink)
Let's sing along! "FUCK YOU!" Unlike their other songs, this one doesn't
suck, which is cool..
10. CLOSET MONSTER (Voodoo Glow Skulls, from the LP "Firme") I won't
let anyone tell me this doesn't have a slight Face To Face influence in the
guitar riff. But hopefully, this is not as flaky as many of Face To Face's
songs, so that's a good thing.
9. HOME IS WHERE THE HEART IS (Dead Fucking Last, from the LP "Proud To Be")
Those guys are fueled on the Beastie Boys' "Egg Raid On Mojo" EP, I guess..
Maybe this is not as lo-fi, and it's also a very good live song. Now can
anyone tell me who the hell wrote this song, because "do you wanna talk about
the things we have in common" is really not DFL-like!
8. FAMILY RESEMBLANCE (88 Fingers Louie, from the LP "Behind Bars")
This song will probably become a classic. Only thing I still can't
understand is that they quit Fat Wreck Chords at the time they started to
sound like a band on that label. Anyway. Things turn out in a strange way
sometimes.
7. LEANIN' LIKE A BARN (Tilt, from the LP "'Til It Kills") They changed
their style! They changed their style! They changed their style! And it's
much better that way.
6. GO AWAY (Reset, from the demo "Concerned") This song is awesome,
even if they use the same riff than Ten Foot Pole's "My Wall" or Bad
Religion's "Slaves". And it's about Tipper Gore, you know, and every song
about Tipper is bound to be good, right?
5. 51 DAYS (No Use For A Name, from the LP "Leche Con Carne") It's
weird how No Use For A Name rates just behind Sprained Ankle, who are totally
anti-Fat Wreck Chords, but still. This one gets the title for the "best
lyrics of the year" award, while The Oblivians' "Shoot Me A Waco" ranks first
in the "most clever album title" category. (Is this "David Koresh day" or
what??)
4. COLLEGE LOVE THEORY (Sprained Ankle, from the self-titled demo) I
was talking about Black Francis' great idea and here's a song that says "they
proudly show their Weezer t-shirt, they think it's a way to say they're not
just goddamn jerks". Oh well.
3. FARM SONG (Sicko, from the LP "Laugh While You Can Monkey Boy") I
just _LOVE_ those little "happy happy joy joy" guitar themes! Near behind
(from the same album) was "When To Quit", which still deserves a special
mention for the lyrics: "now I'm stuck outside your inside jokes, please
don't let me in"
2. FACE IN THE CROWD (Homegrown, from the compilation "Punk Sucks") Now
this one gets the prestigious award for the "funniest lyrics of the year",
because the song is about Keanu Reeves, Epitaph, rock stars and MTV all at
once. Great, great, great! By the way, did I tell you the song was great?
1. MR. HOLIDAY (Sunnychar, from the compilation "A Slice Of Lemon") At
first I wondered if this was really their song, or a cover of some kind of
cartoon theme song. Well I'm still wondering, but this is the happiest band
I've seen in a while! They're Japanese people trying to sing in English, and
they've found out they just couldn't pronounce the words correctly, so they
just went on "pa pa pa pa pa pa pa" (like in "Papapapa", from Les Thugs).
Totally cool!
Now, LET'S ARGUE ABOUT IT! So please send me hate mail and stuff, and I
didn't include any songs from Pennywise and Blink _because their songs aren't
good enough_, right?
//end punk
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//:plastic
Plastic thoughts for plastic people -- There's a pea in my hair soup
-------------------------------------------------------------------------------
by Eerie.
"Hey, I'm the king of the world"
(PJ Harvey)
One thing that seems to give some unneeded headaches to pretty much everyone
is the copyright issue.
Yeah, most probably some of you will put out a demo (as I did. More on that
later) and you'll want to protect your work. All right.
Some seem to think you have to _pay_ to have a copyright. Hah hah hah. Good
joke. Of course you can pay, but you don't have to. Why? Hell, 'cuz once
you did the work, it's yours. SIMPLY LOGIC. It's the law, anyway. Paid
copyrights help _protecting_ the work in court, but most of the times,
they're useless.
How to avoid giving money to the stinky government & still be protected?
Send the work to yourself via mail before starting to dub it to anyone. Get
it? That way, the timestamp serves as a proof that can be used in court. Of
course, don't you ever open the envelope!
There's also a big debate everytime on HOW to mention the copyright. This is
the _exact_ way to do it: (Others ways can do, but who knows what a lawyer
can invent to put his adversary down, so don't take a chance.)
"(C) 1996, John Doe."
For more safety, use the bandmates' names instead of the band moniker. Only
one name is needed, too, but you can put 2 or 3 if you want to.
If the songs are composed by different people, you can issue a copyright for
each. It may look hissy & weird, but remember, it's for your protection.
Those rules also apply with any litterature, paintings, artistry of any kind.
Alright. Time for fun stuff.
Youngie Poo & I just released a demo under the name "The Teen Genocide"
called "Destroy me tender & 5 songs" and, mind you, it rocks. There's one
way to order it, and it's by sending $4 US or $4 CDN to the following
address:
The Teen Genocide
2215, Migneault
Quebec City (Quebec)
Canada G1J 4W5
For those who wonder what our music is like, imagine a cross between
Portishead & a ten-wheeler. Anyway, Neuromancer's supposed to do a review on
it anytime soon so go read it. Hope it's gonna be good. :)
//end plastic
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//:eight
Eight Testicled Pogo Article
-------------------------------------------------------------------------------
by Pink Lincoln
Humm, due to some understandable administrative errors (yeah, right), my
choices for 1995's best albums were not included in the last issue. To
rectify this error and boost the size of my article, i will include here for
you to enjoy. (or most likely, disagree with.)
=======================
%#% lincoln's picks %#%
=======================
1 Boris The Sprinkler Male Model 7" (Bulge)
2 The Riverdales The Riverdales (Lookout)
3 Screeching Weasel Kill The Musicians (Lookout)
4 The Queers Move Back Home (Lookout)
5 Sicko Laugh While You Can, Monkey Boy (Empty)
6 V/A Punk Sucks (Liberation)
(the list stops here, it's in no particuliar order, and i DID stretch
my imagination to find good albums in 1995 but what the hell..)
Ok, do you know what really pisses me off? People that just don't get it.
You know, the kind of loser that has not yet realized i'm pointing the finger
at him. The kind who thinks that there is somebody i don't really hate and
that's him.
Well, that's one more thing you are wrong about bucko. I hate you, me, him,
they, he, she and it. Nobody's perfect, but that's no reason to just lower
you arms and say: "yeah, this shit is for others, i should not have to care
about it".
I mean just look at your own little stupid self. Yes, you reading me right
now. You still don't get it. It's been about what, 6 different issues in
which the sole purpose of my column was to get you off your sorry ass, give
us some sign of your existence. But so far, the average ACE reader remains
anonymous.
What's the matter with you? You're afraid your mother is gonna find out you
listen to punk/ska/oi/emo/hardcore/techno/alternative/whatever? There you
are with the most powerful communication technology the earth ever bore (your
computer, you dummy!), and you still think it's hard to get in touch with us?
You do realize it does not make much to get my whining off you back? You
just have to send a little something, anything will do. Death threats, fuck
you's, keep up the good work or whatever. I can't imagine everybody out
there agrees with me or the other columnists. I'll take mail from anybody,
be it rascist, fascist, sXe or even good ol' punk rockers. I'll even answer
mail from techno fans. All you have to do is give a call to one of our
support BBSes.
It's that simple.
On a happier note, we did get some feedback last month. Mainly from our new
(he's like the first, but it's still new) movie connoisseur Paranoid. He
guessed correctly that the lyrics included at the end of last month's column
were from the British Sci-Fi comedy Red Dwarf. He also pointed out that we
seem to overuse the word fuck in our articles. I've got one thing to say:
'screw you'. You see, i'm cured. I could have said 'fuck' you but did not.
:)
//end eight
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//:some
Some, Her, These -- There is no (few)ture for you.
-------------------------------------------------------------------------------
by Redge.
Recently I read in the newspaper that the Sex Pistols are gonna make a
return. Johnny Rotten talked about reforming the Pistols for a world tour.
All the original members of the band (For those who dunno Sid wasn't the
first bassist in the band's history) will be part of it.
So what does it mean, actually? Is there a future for the "no future"? I
don't think so. The Sex Pistols, the band who claimed a couple years ago
that there was "no future for you", are now part of rock'n'roll history.
They're older now. They do not represent the youth no more. They were
young, they were popular, but now they are members of another age group than
the one they once represented.
For the music scene, this is quite good news, well, Sid Vicious isn't the
bass player (even if he didn't really _PLAY_ bass). The members are more
mature, Malcolm McLaren is the same as he was, and everybody is tired of the
Queen and her family. Maybe they will write new songs, that means that
they're back for the cause, not for their bank account. But if they only
play again and again their old stuff, maybe they don't deserve our support.
But the great question is: Are they attacked by the movement of reforming
old bands (like for Page/Plant, the Beatles and many others) or are they just
missing the stage? Is this only a way of making money or is this a real
comeback for ever?
The problem is not the "no future" sentence. It is more the importance of
reforming old bands to the detriment of the new bands. Do we need the
Pistols to come back? I don't think so. There is a lot of good new stuff,
and if, and only if, the Sex Pistols make new songs, I will listen to them in
their new form, but for me they are still the old English punk band who
laughed at the Queen once.
//end some
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//:nofx
NOFX -- Sticking In My Tape
-------------------------------------------------------------------------------
by The Naughty Tycoon
(alright, I apologize, this is an old joke, but I thought it'd sound good as
a title. I don't know if it did, and I quite don't care)
I guess this is going to be some kind of NOFX bio. Actually, maybe it's more
like a commented discography, with some stuff added to make it look good.
I'm doing this for the thousands and thousands of NOFX fans out there that
haven't heard anything else than "I Heard They Suck Live" or "Punk In
Drublic".. Here we go.
NOFX officially formed in 1984. They were a trio back then, and they were a
lot mot aggressive and less melodic than today. The two leading members of
the band were (and are still) Fat Mike (bass/vocals) and Eric Melvin
(guitar). Some of the details of their early years ('84-'88) are somewhat
obscure so I'll just skip into the discography for that part of their
existence (and still, I don't even know what they exactly released during
that phase). In 1987, after appearing on some compilations (most of them
being released on Mystic Records), they recorded a first 7-inch record,
called "The PMRC Can Suck On This". I really don't know which label it was
originally released on, all I can say is that Fat Wreck Chords (Fat Mike's
label) reissued it in 1992. It has 6 songs, including their cover of "Johnny
B. Goode" and "A200 Club" (which is also on the "Liberal Animation" LP). I
don't have this 7" altough it's very easy to order from Fat Wreck, so just go
for it if you have everything else from them..
In 1988, NOFX self-financed their first LP, called "Liberal Animation". I
personally think it's the worst NOFX record, but it still has a couple of
good songs. If you have the "10 Years Of Fuckin' Up" video, you'll surely
notice the song "Shut Up Already" on this one. Music-wise, they sounded
quite unusual for a punk band, they have two semi-acoustic songs and stuff,
it's pretty weird. Lyrically speaking, "Liberal Animation" has a strong
"anti-vegetarianism" feel to it. It also includes "Beer Bong", which I don't
like but many people seem to think it's the best song NOFX ever recorded.
Anyway. (By the way, somewhere between 1984 and 1988, they added a member to
eventually be a 4-piece, and there are still four guys in NOFX today)
In 1989, Epitaph released their follow-up, "S&M Airlines". I think it's
nothing really good, but there is a ska song ("Life O'Riley" -- they still
play that song live today) on it and there are some quite interesting songs,
such as "Vanilla Sex" and "You Drink You Drive You Spill". There's also
their cover of "Go Your Own Way" that's good, altough I don't remember who
wrote that one.
1990 has been a very important year for NOFX. This is the year they recorded
"Ribbed", which is, in my opinion, one of the best NOFX albums. This is an
album where they made it clearer that they would always include some ska
(kinda) songs on their albums. If you think you know NOFX well and you don't
have this one, you better drive yourself off a bridge, _or_ buy the album.
In either case, do it NOW. (Then get back later to read on, if you decide to
buy the album. That means if you're broke, you're gonna die) Ribbed has
many classics on it, including "The Moron Brothers", "El Lay", "Where's My
Slice?" and "Together On The Sand".
In 1990 there was a guy called Izzy something (and he was not playing in
Guns'n'Roses so I assume it wasn't Stradlin') who played guitar in the band
(he also wrote "Together On The Sand"). Well for some reason, Fat Mike, Eric
Melvin and Erik Ghint (drummer) decided to kick him out. El Hefe replaced
him. This added a lot of personality to the band. They played a few shows,
then fled to Europe for a tour, and when they got back, they recorded "The
Longest Line"..
"The Longest Line" is an EP of 5 songs, where you can find the song "Kill All
The White Man" (which I hate but it seems that this one is _also_ an all-time
popular among NOFX fans, for some odd reason), "Stranded" (a personal
favorite) and 3 others on it. With El Hefe in the band, they could now add
some trumpet lines to their ska-ish songs, which made them even more exotic
(what a silly comment. anyway).
While they were touring Europe (once again), Doug Moody, from Mystic Records,
released 22 of the songs they recorded between 1984 and 1988 at the Mystic
Studio. This compilation is called "Maximumrocknroll" (named after the punk
rock bible/magazine) and it contains a lot of raw punk rock stuff with,
sometimes, a hardcore feeling to the songs. It's cool, I think it's pretty
different of what NOFX release nowadays and the songs are pretty good, too.
It includes their cover of Black Sabbath's "Iron Man" (which sucks) and
another version of the song "No Problems", which was released on "Liberal
Animation".
"White Trash, Two Heebs And A Bean" was released in the beginning of 1993,
and it's my favorite NOFX album. There are a lot of NOFX "hits" on this one:
"Sticking In My Eye" (I *think* it was their first made-for-MTV video),
"Bob", "Liza And Louise" and also the ever-popular "Please Play This Song On
The Radio". There are still a lot of ska or jazzy songs on it, but when you
see these guys live you'll realize what those songs are for.
Fat Mike broke his leg somewhere in the beginning of May '94, so this delayed
a couple of shows because it was during the Mons'Tour.. The reason why I'm
telling you this is pretty obscure, since that's not really an important part
of NOFX's history, maybe that's because they were supposed to come in Quebec
City and play for the first time here and they didn't. In July, another
album came out: "Punk In Drublic". Don't hold me to that, but I think it's
the best-selling NOFX album. It contains "Leave It Alone" (their first
world-wide hit, so to speak), "A Perfect Government" (a song written by Mark
Curry, who *seems* to be the brother of either Fat Mike or El Hefe -- I'd say
it's Fat Mike's bro), "Linoleum", "The Brews" and 13 other songs.
They toured North America once again, I think they even went to Japan, and in
the beginning of 1995 they recorded a live album. This album came out in
August '95 or something, I'm sure your kids all have it, it's called "I Heard
They Suck Live", and it's got a new version of the song "El Lay", renamed
"East Bay" (Fat Mike changed the lyrics, too), and they also cover
Rudimentary Peni's "Nothing But A Nightmare" and they play a bunch of old
songs and stuff..
At the time this comes out, there should be a new NOFX album out, called
"Heavy Petting Zoo". I've heard it and it's pretty much the same sound as
"Punk In Drublic", so don't expect something really surprising for this
album. Okay, now maybe you're fucked up with their discography so here's the
(in)complete list of the stuff they released:
(note: this doesn't include songs on compilations because there are
thousands of them)
THE PMRC CAN SUCK ON THIS (1987; reissued in 1992 on Fat Wreck Chords)
LIBERAL ANIMATION (self-financed, 1988; reissued in 1991 on Epitaph)
S&M AIRLINES 7" (1989; Epitaph)
S&M AIRLINES (1989; Epitaph)
RIBBED (1990; Epitaph)
MAXIMUM ROCKNROLL (1992; Mystic)
THE LONGEST LINE (1992; Fat Wreck Chords)
LIZA AND LOUISE 7" (1992; Fat Wreck Chords)
WHITE TRASH, TWO HEEBS AND A BEAN (1992? 1993?; Epitaph)
DON'T CALL ME WHITE 7" (1994; Epitaph)
PUNK IN DRUBLIC (1994; Epitaph)
LEAVE IT ALONE single (1994; Epitaph)
I HEARD THEY SUCK LIVE (1995; Fat Wreck Chords)
HEAVY PETTING ZOO (1996; Epitaph)
//end nofx
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//:warhol
A Tribute to the Worst Film Director of All Time
-------------------------------------------------------------------------------
by Paranoid
"Simplify."
(Henry David Thoreau)
"Complexify."
(Bill Gates)
Ed Wood, the worst film director of all time? I think not!
Wood's movies are decidedly bad, but when you compare them to other movies of
that day, Wood can sometimes look like a pure genius. Some scenes in his
films are better shot than anything you'll find in the "classic"
pseudo-horror film, "Dracula". It's the innocence of Ed Wood which most
fascinates his cultists: He was lame and he never knew it. For that, I'd say
he was lucky.
But the REAL worst director of all time is much more deserving of the title.
To begin with, he is already much more famous than Ed Wood. Not only was he
a bad director, but he was both aware and proud of it. In fact, he built his
entire reputation around that, having once spoken the immortal words: "I like
boring things."
Some of you might have guessed that I'm talking about Andy Warhol.
Warhol, of course, is much better known for his paintings than for his films.
The Velvet Underground's manager probably made a fortune with his realistic,
repetitive depictions of Campbell soup cans, Marilyn Monroe, dollar bills and
electric chairs. (If you deem this so-called "pop art" lame, just think of
Picasso's cubist paintings.)
As a graphic artist and painter, he had real talent. (Some might say he
wasted most of it, but that's not the point, and besides, I disagree.) But
as a film director, he didn't seem to have any. While it's true that most of
his films were boring on purpose, I doubt that he could have made an
enjoyable film had he tried. (Perhaps he did try.)
Warhol was hell-bent on experimenting with the medium of film.
Unfortunately, most of his experiments went towards trying to shock people or
exploring the time and space factors. A few film critics, students and
historians were shocked, but the only other people who bothered to watch the
movies were Warhol's lunatic fans. And his exploration of narrative time and
space (such as slowing down time in a film) has had (luckily) no influence on
movies that have been made since.
Some of the most famous movies associated with Warhol (such as the extremely
bloody but funny "Andy Warhol's Frankenstein") are actually almost good. But
Warhol had nothing to do with those. The inexplicably boastful Paul
Morrissey, a longtime Warhol associate, directed most of them. "Andy
Warhol's Bad," directed by some guy named Jed Johnson, is actually a pretty
good movie. And "Andy Warhol's Dracula" features two famous directors (Roman
Polanski and Vittorio de Sica) acting amidst buckets of blood, therefrom
creating some hilarious moments. These three movies were only titled with
Warhol's name in order to attract an audience. (It didn't work.) In fact,
even some of the really bad movies attributed to Warhol, such as "The Chelsea
Girls", are now said to have been directed by Morrissey, who also codirected
most of Warhol's post-1965 movies.
But when Warhol was behind the cameras... well, they didn't move much. His
film "Empire," which is nine hours long, consists of one lingering, static,
virtually endless shot of the Empire State Building. (That's it; that's the
whole movie!) However, his masterpiece in boredom is no doubt the 8-hour
silent film "Sleep," which does have the distinction, like "Empire," of
having been shot in real time. In it, you have the joy of watching, through
(again) a static camera, a man sleeping for eight hours. (Yes, I know, it's
ironic -- it's as if the camera was turned on the person "watching" the
film.)
Bear in mind that those films WERE released, and that they actually made it
into several art houses. They were also watched by some of the most patient
people on Earth. Warhol made dozens of these plotless films, which can only
be described as "boring improvisational nonfiction." Many of them starred
Warhol's fanatics, improvising on camera. These included (of course) nudists
and exhibitionists, transvestites, androgynes, and hermaphrodites -- most of
them obsessed with sex and death. That may seem interesting, but more often
than not, the titles were the best part of his films.
To add insult to injury, Warhol went on to do some acting. He helped make
"Driver's Seat" the worst movie ever to star Elizabeth Taylor (not that she
needed the help). Evidently, he wasn't as bad an actor as he was a director,
but somehow, he only managed to show up in bad movies. He also turned up on
MTV a number of times during the 80s, and sometimes appeared in music videos.
Andy Warhol was something of a rarity: Both artless and artful, candid and
mysterious, genuine, original and yet of commercial fame, you never knew what
to expect of him. Ultimately, I guess his two or three cans a day of
Campbell's soup are what killed him, because he died during a gallbladder
operation, in 1987. Had he not died then, he would have turned 69 this year.
And I bet he would have made a movie about it, making sure to point out, in
his own way, the sexual connotations of the number 69. Or perhaps he would
be touring the talk shows right now. I get the feeling he would have liked
today's trash talk shows. Or maybe not. As I said, with Warhol, you never
really knew...
In 1991 an excellent documentary on and about Andy Warhol was released.
Entitled "Superstar: The Life and Times of Andy Warhol" and also known under
the more appropriate title "Andy Warhol Superstar," it features many of
Warhol's friends and colleagues, some of whom are quite well-known (such as
writer and magazine editor Tom Wolfe, and eternal-beatnik-cum-actor-director
Dennis Hopper). The film paints a bright picture of the 60s, and it's also a
great opportunity to find out what the people at Campbell's think of all this
soup can thing (they love it, so I guess it sold soup for them).
Below is a list of films that Andy Warhol directed. Many of them are short
films, minutes long, while a few are quite long, some even longer than
"Sleep." I wanted to include the full filmography, but there were more than
60 films, so that would have been a waste of space. I included only those
films that are best-known, as well as the most colourful and suggestive
titles. To the best of my knowledge, none of these films can be found
legally on video, although many of them are available as bootleg tapes.
Although I haven't seen most of these, they're all guaranteed to be 100% bad.
The initial year of release is in parentheses (), and alternate titles are in
square brackets [].
(Next issue: Dario Argento, the Italian master of atmospheric horror.)
BLOW JOB (1963)
EAT (1963)
HAIRCUT (1963)
KISS (1963)
SLEEP (1963)
BATMAN DRACULA (1964)
EMPIRE (1964)
MARIO BANANA (1964)
BITCH (1965)
CAMP (1965)
DRUNK (1965)
FACE (1965)
PRISON (1965)
SUICIDE (1965)
VINYL (1965)
BLOW JOB #2 (1966) [aka "Eating Too Fast"]
THE CHELSEA GIRLS (1666) [aka "Hanoi Hanna -- Queen of China", "The Trip",
and "The Pope Ondine Story"]
THE VELVET UNDERGROUND AND NICO (1966)
**** (1967) [aka "Four Stars" and "24-Hour Movie"]
BIKE BOY (1967)
I, A MAN (1967)
IMITATION OF CHRIST (1967)
NUDE RESTAURANT (1967)
FUCK (1967) [aka "Blue Movie"]
LONESOME COWBOYS (1968)
SURFING MOVIE (1968)
//end warhol
===============================================================================
===============================================================================
//:techno
The Techno Issue, part I -- Fascist Future by your humble shitworker:
Pink Lincoln
-------------------------------------------------------------------------------
by Pink Lincoln (obviously)
(Note from the ACE staff: This will start a serie of argue & reply
shoot-them-up articles by Pink Lincoln, Eerie and whoever, possibly remind
some of the "A go on s'ACEtine" column back when ACE was in French. :) Of
course we're talking opinions here, so the only one you can blame for what's
written here is the AUTHOR! Hah. Funny.)
Great, 1995 is over and we ain't dead yet.
1996 just started, and we might die tomorow for all i care.
Because you see, i'm just really pissed off at the way things go. Technology
has resumed it's long slow crawl to the top of modern living habits and it
way sucks. Don't read me wrong here, like every stupid computer geek (geez)
around the world, i'm very excited about all that information super-highway
crap (after all, it is difficult to refrain from hormonal surproduction when
all this shit has to offer is cheap pornography on the Web) but there are
limits to how far i will allow my privacy to be invaded by technology.
Of course, i could go on and on like a lunatic spitting half-truths and
honest misinformation about the way robots will surplant humans as labor
workers (like that will ever happen) or about the Clipper Chip (that would
allow the government to tap phone lines with effectively no limits, all in
the name of honest law-enforcement of course), but that's not the way i'm
going to do it. Since ACE is after all, a music e-mag (though i do sometimes
tend to forget that important bit of info), i will try to paint an accurate
picture of what technological advances will do to good ol' punk rockers and
other non-mainstream beings.
Ok, now i will go over one of my most hard shelled beliefs and will admit for
an instant that ravers and skaters are part of the underground 'scene'.
We all know that a generation's underground if very often the next one's
mainstream right?
So what is today's trendy underground act? Yes people, the very one that is
slowly starting to invade our little emag, techno music. Most people that
hear what i say about this kind of music will think i'm either prejudiced or
some fucking fascist. Even people that have grown up with me still think i'm
prejudiced or some kind of fascist when i scream things like: "shut this
fucking thing off!" in front of some stereo playing techno. Well as far as
being prejudiced, i think i've forced myself to hear enough of this at
parties or when i listen to our lame'o supposedly underground tv show
Blackout to say i know what i am talking about. As far as being a fascist is
concerned, i might be on the verge of being the single being with an ego
bigger than the Death Star (oh btw, anybody wishing to make donations to ACE
could very well send me some Boba Fett Youth stuff.) and i do have radical
views on most subjects, but if that makes me a fascist then most people are.
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.
Also, techno is apparently very popular in Europe, and i mean popular in
mainstream terms, not underground ones. This year then, a very big bunch of
people are gonna wake up, and realize they've been listening to crap, music
that means nothing. (while it may seem peculiar to you that a bunch of losers
would realize that, you should take those two points into account: 1-Green
Day does suck that much 2-A lot popular artists go around puking shit like:
"This last album means a lot, and it's really some sort of manifesto
about..", so people now look for meaning in music and they will soon realize
they've been duped.)
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.
Now, either one of two things will happen. First, it'll die there and leave
us the fuck alone, or it will grow until it becomes unstoppable. Most
likely, it will stay because throughout history, there has always been a need
for music to dance to, be it disco, dance music or jazz.
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.
And read me right at least one in your life suckers. While it may shock most
of you, i really do think that techno is mindless. Yes, it is music (never
thought i'd say that). Yes, it is every bit as artistic as anything else.
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.
Hopefully, this can be avoided and either the trend will die out or techno
will at least retain some of the human factor, but you might as well watchout
or you'll end up like your parents saying to your kids their music is
mindless bullshit.
//end techno
===============================================================================
===============================================================================
//:disco
Discography -- Screeching Weasel
-------------------------------------------------------------------------------
by The Naughty Tycoon.
Here is the complete discography of the biggest legends of pop-punk!
(note: basically this has been taken from the notes on the sleeve of their
last album, How To Make Enemies And Irritate People, without the comments.)
full-lengths and EP's
---------------------
SCREECHING WEASEL (Underdog; 1987. licensed to Shigaku Trading (England);
1987) - OUT OF PRINT!
BOOGADABOOGADABOOGADA (Roadkill; 1988. licensed to Wetspots; 1988.
reissued by Lookout; 1992)
PUNKHOUSE 7" (Limited Potential; 1989. reissued by No Budget in 1991, and
then by Selfless in 1993)
MY BRAIN HURTS (Lookout; 1991)
PERVO-DEVO 7" (Shred Of Dignity; 1991. reissued by Outpunk in 1992) - OUT OF
PRINT!
WIGGLE (Lookout; 1992)
SNAPPY ANSWERS TO STUPID QUESTIONS 7" (live - Selfless; 1992) - OUT OF PRINT!
HAPPY, HORNY, GAY AND SASSY 7" (live - Selfless; 1992) - OUT OF PRINT!
RAMONES (Selfless; 1992) - OUT OF PRINT!
RADIO BLAST 7" (Underdog; 1993. reissued in 1994)
YOU BROKE MY FUCKING HEART 7" (Lookout; 1993)
ANTHEM FOR A NEW TOMORROW (Lookout; 1993)
SUZANNE IS GETTING MARRIED b/w WAITING FOR SUSIE 7" (Lookout; 1994)
HOT TO MAKE ENEMIES AND IRRITATE PEOPLE (Lookout; 1994)
KILL THE MUSICIANS (compilation of almost all the stuff that was out of print
- Lookout; 1995)
split EP's
----------
split 7" with the Pink Lincolns (VML; 1993) - OUT OF PRINT!
split 7" with Born Against (Lookout; 1994)
compilations
------------
(note: all those compilations are out of print)
"Kamala's Too Nice" and "I Wanna Be A Homosexual" from the WHAT ARE YOU
POINTING AT? 10" compilation (Very Small; 1989. reissued on CD as the
FOUR-TWO PUDDING compilation; 1989)
"Slogans" from the THERE'S A FUNGUS AMONGUS 7" comp. (What The Fuck?; 1989)
"This Bud's For Me" from the THEY DON'T GET PAID, THEY DON'T GET LAID, BUT
BOY, DO THEY WORK HARD comp. (Maximum Rock'N'Roll; 1989)
"Teenage Slumber Party" from the ACHTUNG CHICAGO comp. (Underdog; 1990)
"Celena" from the IT'S A PUNK THING, YOU WOULDN'T UNDERSTAND comp.
(Shakefork; 1994)
"My Friends Are Getting Famous" from the PUNK USA comp. (Lookout; 1994)
"Soap Opera" from the FALLEN UPON DEAF EARS 10" comp. (Skullduggery; 1994)
"Chicago" from the CHAIRMAN OF THE BORED 2xCD comp. (Grass; 1994)
//end disco
===============================================================================
===============================================================================
//:reviews
//savepos
//push
Reviews
-------------------------------------------------------------------------------
by the staff.
//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.
A SLICE OF LEMON (Various artists; 2xLP) //goto :rev01
CAN I HAVE A PIECE? (Men'O'Steel) //goto :rev02
EXIT PLANET DUST (The Chemical Brothers) //goto :rev03
FUNERAL ORATION (Funeral Oration) //goto :rev04
HERE'S WHERE THE STRINGS COME IN (Superchunk) //goto :rev05
HETEROBASH WAS FLIPPER (Gus; 7") //goto :rev06
LIVE FOREVER OR DIE TRYING (The Humpers) //goto :rev07
MILLENIUM (Front Line Assembly) //goto :rev08
ONLY EVERYTHING (Juliana Hatfield) //goto :rev09
PACER (The Amps) //goto :rev10
PURPLE BLUE (Eric's Trip) //goto :rev11
SHORT BUS (Filter) //goto :rev12
THERAPY (Synthesthesia) //goto :rev13
THE REBIRTH OF COOL PHIVE (Various artists) //goto :rev14
THE RIVERDALES (The Riverdales) //goto :rev15
THE SWIDDLES (The Swiddles; Demo) //goto :rev16
13 KIDDIE FAVORITES (Jughead's Revenge) //goto :rev17
(WHAT'S THE STORY) MORNING GLORY? (Oasis) //goto :rev18
//noprint off
//:rev01
A SLICE OF LEMON [2xLP]
Various Artists (Lookout/Kill Rock Stars) This compilation is extremely
weird. The story is that the people at Lookout and the fucked-up bunch of
goons at Kill Rock Stars decided to get together to celebrate (kinda) their
100th release. So, if this is labeled as Lookout 100 and Kill Rock Stars
100, that must mean there will be bands from both labels, right? Problem is,
Lookout and Kill Rock Stars are as different as Quality Music and Fat Wreck
Chords, so this turns out as a VERY eclectic compilation. I'm sure there's
stuff that will appeal to _everybody_ on this, but you sure have to be
open-minded to like all the songs on it! Standouts include songs from Red
#9, The Rickies, The Bomb Bassets (legendary producer Kevin Army's band) and
-- last but really not least -- Sunnychar (a Japanese band that plays a
1-minute "happy happy joy joy" singalong that's totally neat). -TNT
* * «. 39 Tracks; many many minutes (actually, about 80).
//end rev01
//:rev02
CAN I HAVE A PIECE?
Men'O'Steel (EnGuard) First we had Punchbuggy, now we have Men'O'Steel.
After seeing this band live, I thought they'd totally rock my world on album,
but this truly ain't the case. Some songs are actually great ("Scutty" and
"Let It Out" are soon-to-be-classics), but overall this lacks the energy
those guys have live. They didn't care about including a lyric sheet, and
most of their tunes are love songs (they'd be hard rock this would be a
ballad album), but if you're into this kind of mellow pop-punk, this may be
cool enough for you. -TNT
* * *. 12 Tracks; 40 minutes.
//end rev02
//:rev03
EXIT PLANET DUST
The Chemical Brothers (Virgin/EMI) One thing: if you had to buy one
techno record in your life, it would be this one, & I'm sure alot of people
could back me on this. With a piece like that, the Chemical Brothers (who
are not brothers in the real life, by the way) prove that danceable music can
actually be good as well. No real "songs" on this one (put apart the great
"Life is sweet" & a couple others), just a big clunk of music. Joy! This
sure won't change your life (well, it sure hasn't changed mine) but it's good
from the beginning to the end, so why not? -Eerie
* * * «. 11 Tracks; 50 minutes.
//end rev03
//:rev04
FUNERAL ORATION
Funeral Oration (Hopeless) It looks like everybody and their dog in
Europe is now on an American label, which may be cool, distribution-wise, but
sometimes it can also turn out as a very bad guess and people like me can end
up with really lousy albums. I'd heard only one song of that Dutch band
before getting this self-titled (debut?) on Hopeless, and hopefully I've
found a good ditty here. Altough those guys sometimes have problems with
their English, they manage to write some pretty inspired lyrics. Musically,
this is representative of what you can usually find on Hopeless: fast paced
melodic punk rock in the Fat Wreck Chords vein, with one (big) difference:
Funeral Oration seem to use the stop-and-go technique _everywhere_ (and I
mean it). It's really confusing for the 3 first times you listen to the
album, but you'll get used to it and eventually think that it's more original
than many punk bands these days. -TNT
* * * «. 16 Tracks; 30 minutes.
//end rev04
//:rev05
HERE'S WHERE THE STRINGS COME IN
Superchunk (Merge) Those guys have it written in the forehead: COLLEGE
RADIO. "Here's where the strings come in" is a jewel of real non-punk indie
rock, an album that's totally detached from its composers, that stands,
minimalist, naked, alone & alive. You don't even ask for it, but the songs
are the kind that grow on you & leave you with the comfortable feeling that
you've already been there. Well, how couldn't you litterally fall in love
with something that honest? As silly as this may sound, that record's a
winner. And the song "Yeah, it's beautiful here too" is a definite college
hit. Overall, the perfect sound for your next bus ride. -Eerie
* * * *. 11 Tracks; 48 minutes.
//end rev05
//:rev06
HETEROBASH WAS FLIPPER [7"]
Gus (Slow To Burn) It's weird to see how potentially cool bands
sometimes really waste their time and money to record shitty songs. If you
need a comparison, let's say Gus sound a little like DFL, actually it's very
much lo-fi, "in-your-face" punk rock. The first song (title song of the 7")
is a soon-to-be classic, and the third one has cool harmonies in the chorus,
but the 2 other songs weren't needed, you know, they're fillers just like
"What's The Difference?" on the latest DFL album, or "Crabapple" on
Schleprock's "Propeller". Anyway, this is still cool, because you can almost
_hear it_ that they totally dig that kind of music while playing it. It's
kind of hard to explain, but I'm sure they put a lot of time into this. By
the way, this is the Canadian Gus, there's also another band called Gus that
hails from Florida (both bands recorded a split 7" that was released on No
Idea). -TNT
* * * «. 4 Tracks; 9 minutes.
//end rev06
//:rev07
LIVE FOREVER OR DIE TRYING
The Humpers (Epitaph) The Humpers quit Sympathy For The Record Industry
and this is their Epitaph debut. For the large bunch of you who don't know
The Humpers, they play something I'd call modern rock'n'roll. To make it
clear, they sound like a mix between the New Bomb Turks and the Supersuckers
("La Mano Cornuda" era). There are some great songs on this LP ("Wake Up &
Lose", "Beyond Belief", "13 Forever", "You Drive Me Bats") but there are also
some weak numbers that didn't really get my attention. So overall this is
cool, now I'd like to get their previous LP, "Journey To The Center Of Your
Wallet", to see if they've ever been any better. -TNT
* * *. 17 Tracks; 40 minutes.
//end rev07
//:rev08
MILLENIUM
Front Line Assembly (Attic) [Well, there's a new FLA album that's been
released last week, and I'm reviewing the previous one, something's wrong!]
For those who don't know Front Line Assembly, let's say that it's some
_metalized_ industrial (by opposition to _industrialized metal_ like Fear
Factory or White Zombie) so to give you a better idea, include a melody in
Ministry's "Just One Fix"! The result is great. Well, many songs, including
a crossover between metal and ambiant (believe it or not), have very heavy
riffs and they kick ass. Two negative points: there's no song under 5:00 (I
don't care but some do) and the songs are always based on the same pattern:
an heavy guitar riff + a melodic chorus. -Neuromancer
* * * *. 10 Tracks; 65 minutes.
//end rev08
//:rev09
ONLY EVERYTHING
Juliana Hatfield (Mammoth/Attic) Whoever heard "Become What You Are",
the previous Hatfield, would have expected something great to follow that
masterpiece. Why, then, do we get that sort of album we've got here? Those
songs are cheesy like no other! Okay, imagine "For The Birds" & "Mabel",
fourteen times on a row. It sounds just like that. Excepted for very few
good songs ("What A Life", "Universal Heart-Beat" & "Congratulations"),
this album isn't worth the time spent looking at the cover. Too bad for the
hardcore fans... -Eerie
* «. 14 Tracks; 52 long minutes.
//end rev09
//:rev10
PACER
The Amps (4AD/Polygram) Anyone said "cryptic"? Kim Deal got nothing to
do lately, so she started a new band called The Amps. (At first it was
supposed to be called Tammy & The Amps. Really.) Well, what can I say;
everyone's favorite alt-rock girl rages again with twelve new songs that sure
aren't as catchy as those on Breeders' "Last Splash", but who cares? Put
apart the last song ("Dedicated"), which I think shouldn't be on this album,
everything in there is good! Highlights include (but are not limited to)
"Tipp City", "I Am Decided" & "Breaking the Split-Screen Barrier". As for
the actual review, well -- I really can't tell you if you're going to like it
or not. It's too weird, for now. I guess if you liked "Pod" & "Last
Splash" you'll have to like that one. -Eerie
* * * «. 12 Tracks; 34 minutes.
//end rev10
//:rev11
PURPLE BLUE
Eric's Trip (Subpop/Warner) I'm listening to that disc right now, trying
to imagine what it would be for a total Eric's Trip neophyte to understand
it. Actually I have a hard time understanding it. The band just flew away
from their old songwriting technique by creating gems of airy noise that
aren't catchy anymore, as were their two first LP's. With "Purple Blue", the
group is getting into a real trip, and their songs carry a structure that
sometimes reminds me of Sonic Youth, only quicker -- Like, they don't need 19
minutes -- and mostly heavier. The whole record is long, considering that
their previous, "Forever Again", had 18 songs and lasted only 40 minutes.
No, seriously, that record is so different from the rest it's totally weird.
What's funny is that they kept the same texture, and they're still one of the
most lo-fi bands on Earth. All in all, very surprising album from a band
that can't do anything wrong. The more I know them, the more I wonder what
the hell they're doing on Subpop... -Eerie
* * * *. 15 Tracks; 46 minutes.
(I wonder if I _ever_ rated an Eric's Trip LP for something else than
4-star...)
//end rev11
//:rev12
SHORT BUS
Filter (Reprise/Warner) That kind of shit is weird: pretentious cover,
pretentious "statement", it's just the music that has no pretention, if not
to be some kind of Nine Inch Nails meets Alice In Chains techno-grunge
hybrid. Well, the record in itself sounds cool, sort of the kind of thing I
like to listen to when I got nothing else to do... But that's just because
grunge is my favorite lame type of music. (Assuming it _is_ a type of
music.) The record's heavy (most of the time it doesn't stay long like that,
though), rarely technoish, & sadly, sometimes cheesy & boring ("Stuck In
Here" & "So Cool" are on the edge of supreme patheticness.) -Eerie
* *. 11 Tracks; 47 minutes.
//end rev12
//:rev13
THERAPY
Synthesthesia (Hybrid Structure) Before I begin, I'd like to say to
those who were at "X" (a rave in the Quebec City area) that what
Synthesthesia do on album is much superior to what it is live. In fact,
"Therapy" isn't really a "rave" album (well, if you don't count "Obsolete
Perversion"); I'd define it more as experimental-acid (listen to "Negative
Space" and you'll see what I mean). Other things to say? The album is very
well produced, it's not the kind of album done in one day, and it's also very
coherent, there's no song that makes you wonder why he put this one on the
album. Finally, you should buy it 'cause it's good first, but also because
Guru Stefan (who _is_ Synthesthesia. no, it's not a band!) is from Montreal.
Let's support our local artists! -Neuromancer
* * * *. 12 Tracks; 75 minutes.
//end rev13
//:rev14
THE REBIRTH OF COOL PHIVE
Various artists (Fourth & Broadway/Island) The liner notes for "The
Rebirth of Cool Phive", a compilation whose name was probably borrowed from
Miles Davis' album "The Birth of Cool", say that it ain't trip-hop or acid
jazz, but it actually is, in some way or another. This disc is for anyone,
like me, found even slightly interested into "that kind of music" & wanting
for more. Featured: remix of Massive Attack's "Karmacoma" by Portishead,
excellent almost-disco song by Leena Conquest ("Boundaries"), a great hip-hop
tune from Bomb The Bass, remixed by La Funk Mob ("Bug Power Dust"), very
awesome remixed material from such artists as UFO & Method Man, & of
course a new mix for the song "Numb" by Portishead (again.) Sure, a lot of
this stuff can already be found on previous records (Tricky, MC Solaar,
Beastie Boys, D*Note, Jhelisa, etc.) but for the most part, a very enjoyable,
extremely well-done & coherent compilation that will please just about
anyone... Excepted for TNT & Pinky, of course. They don't know what they're
missin'. :) -Eerie
* * * *. 16 Tracks; 77 minutes.
//end rev14
//:rev15
THE RIVERDALES
The Riverdales (Lookout) Is this punk or not? This question has been
raised a lot lately and we can understand why. First, this album was mixed
by none other than Billie Joe but he did the work for free so i guess it's
kinda okay. Second, the band is touring with Green Day, and that i can't
seem to put aside. However, i think that The Riverdales are still as punk as
it gets. Maybe in a more "The Queers" fashion, but if they were to keep it
like Screeching Weasel, why change the name? So, The Riverdales are some
kind of slower versions of Screeching Weasel. The lyrics are the same and
it's still good ol' Ben and Vapid on guitar and bass. The drummer is the
only novelty in the band, that and the fact that Vapid does sing a lot more.
Also, there seems to be some kind of a more serious shadow cast on this album
as the sleeve is very sober and lists band members by their real names (Ben
Foster, Dan Schafer and Dan Sullivan). -pink
* * *. 12 Tracks; 30 minutes.
(note from tnt: actually, the drummer is better known as Dan Panic, who has
been the drummer for Screeching Weasel from 1989 (or so) to 1994, so he's no
item of novelty here)
//end rev15
//:rev16
THE SWIDDLES [Demo]
The Swiddles (Indie) I'd seen this band live twice before getting my
hand on their demo, and I must say that they're much better on tape. This
one is pretty cool and has 5 decent songs on it, the most interesting numbers
being "Land Of Corruption" and "Nanana (Stolen Song)". The only problem I
have with this band is that I don't like the singer, you know, he's got that
whiny voice that really doesn't fit for their kind of punk rock. Influences?
Basically, I'd say any O.C. punk rock band (for the vocal harmonies) and East
Bay stuff, speeded up.. Personally, I think it would have been a plus for
them to include their cover of "Knowledge" (Operation Ivy) on this tape.
-TNT
* * * «. 5 Tracks; 15 minutes.
//end rev16
//:rev17
13 KIDDIE FAVORITES
Jughead's Revenge (BYO) Well, I thought I was buying an album from an
hardcore band, I've been deceived. It's not bad, but when you've seen the
band live you're expecting for more. There are two types of songs on "13
Kiddie Favorites", some are close to hardcore but slower and other are
skatepunk tunes like Good Riddance or Ten Foot Pole could do. The problem's
here: it's not hard enough to be "good hardcore" and on the other side their
melodies aren't catchy enough to be "good skatepunk". Maybe on the next
album they should find a more defined orientation. -Neuromancer
* * «. 13 Tracks; 30 minutes.
//end rev17
//:rev18
(WHAT'S THE STORY) MORNING GLORY?
Oasis (Epic/Sony) 1995 definitely was the year the Beatles were
everywhere. Not only they did a new record & all that, but they also got
to influence 10,483 kazillion bands that coincidently released something that
year. Pure chance, we swear. Um, I must admit that I bought the album
because it was cheap & because I, fool (on the hill?) as I always am,
thought that it "could be good". (Yes, I saw the "Morning Glory" video, like
everyone...) So what happened? Well, not much: all the songs sound great
for the first 30 seconds, then it falls into beatlebuttlickin' cheesiness &
lennonbrownnosin' vocals. Boy, there's these times when I feel glad I don't
live in Europe, 'cuz that's what I'd hear on the radio ALL FUCKING DAY. (And
before you ask me, I hate Blur JUST AS MUCH.) -Eerie
«. 12 Tracks; 51 painful minutes.
//end rev18
//end reviews
===============================================================================
===============================================================================
//:oldies
//savepos
//push
The oldies
-------------------------------------------------------------------------------
by the staff.
//noprint on
Pick one of those or read on to get all the reviews...
ANTI SYSTEM (Corrupted Ideals; 7") //goto :old01
BAD MOON RISING (Sonic Youth) //goto :old02
CAPITALIST ALIENATION (Capitalist Alienation) //goto :old03
GIDGET (Good Riddance; 7") //goto :old04
GROW UP (The Queers) //goto :old05
I DON'T WANT TO GROW UP (Descendents) //goto :old06
KILL KILL KILL (Jerry's Kids) //goto :old07
LIVE AT KINGS HEAD INN (Avail; 10") //goto :old08
POWER TOOLS (Horace Pinker)
//goto :old09
QUEBEC CRUSADE FOR AUDITIVE SAVAGERY PROLIFERATION (Various artists; 7") //goto :old10
SLEEP ASYLUM (Uzi) //goto :old11
SONGS ABOUT FUCKING (Big Black) //goto :old12
THE CHOICE OF A NEW GENERATION (Fifteen) //goto :old13
WESTING (BY MUSKET AND SEXTANT) (Pavement) //goto :old14
//noprint off
//:old01
ANTI SYSTEM [7"]
Corrupted Ideals (New Red Archives, 1994) All the songs on this 7" are
available on the album "Anti-Generation", that came out on New Red Archives 2
years ago. This band plays some kind of UK-influenced punk rock, '77 style.
While I don't think this is a quintessential 7", it's really good if you
wanna know what they sound like. "Western World" is a great song, but
unfortunately there's no other song that even compares to it. -TNT
* * «. 4 Tracks; 10 minutes.
//end old01
//:old02
BAD MOON RISING
Sonic Youth (DGC/MCA, 1995 -- orig. 1985) Next in my serial old sonic
shit reviewing process, "Bad Moon Rising" was released in 1985 & is now
released through Geffen's plan of reissuing all the Sonic catalogue. Let's
say it now: "Bad Moon Rising" is a must. From the beginning to the end this
record follows a "real path" & actually brings you somewhere instead of just
throwing you in a box with no chance of an exit like "Confusion Is Sex" would
do. Exceptional continuation in there; each song is a path that leads you
to "Death Valley '69" (the last song that they sing with Lydia Lunch), making
you experience some serious peaks ("Ghost Bitch", "I'm Insane") & filling
any hole left in the pavement. (Hah! I said pavement!) And then there's
the bonuses: long "Satan Is Boring", sleazy "Hallowe'en", violent "Flower" &
enigmatic "Echo Canyon". On the record they say "Flower" comes before
"Hallowe'en", don't believe them. -Eerie
* * * * «. 12 Tracks; 54 minutes.
//end old02
//:old03
CAPITALIST ALIENATION
Capitalist Alienation (Alienation Records, 1987) This one rocks in a
vicious hardcore kind of way. It's the usual manifesto about fascism,
pollution, capitalism, drugs and violence that every half-decent punk rocker
can relate to. The vocals are fast, explicit and very effectively backed by
frantic and powerful bass/guitar/drums. CA are also the perfect example of
metropolitan punkers, no suburban wannabes here. Another interesting feature
about this album is that it is relatively rare. Rumors has it that CA were
ripped off by their distributor, received no cash and had all the trouble in
the world to find a copy of their own album to keep for themselves. -pink
* * *. 14 Tracks; 17 minutes.
//end old03
//:old04
GIDGET [7"]
Good Riddance (Little Deputy, 1994) I'm sure all you little
skateboarders own and cherish Good Riddance's full-length debut on Fat Wreck
Chords, don't you? Now, who has their second 7-incher, "United Cigar"? Not
many people, eh? Well this 7-inch record has been released even before
"United Cigar", and it's much more melodic (vocal-wise) than now. Even
though the lyrics were just as activist-oriented back then, musically it's
pretty questionable. (is that good? is that bad? is this great? does that
suck?) The record starts off with a song called "Not So Bad", which is a
ripoff of Bad Religion's "Do What You Want", and the 3 other songs range from
average to mediocre. Not so bad (what a pun here) for a first effort, but
still. Buy at your own risk. -TNT
* * «. 4 Tracks; 10 minutes.
//end old04
//:old05
GROW UP
The Queers (Lookout, 1994 -- orig. 1990) "Grow Up" is the first Queers
LP. It originally came out in 1990, but what I got my hands on is the
Lookout Records reissue (1994). I'm sure you all know The Queers and their
sound that's usually somewhere between Screeching Weasel and the Ramones,
right? Well, this one is really different from what I expected first, for it
has much more a sixties' rock'n'roll sound to it. It's pretty cool, but it's
surely not as catchy as "Love Songs For The Retarded". The guitar is very
noisy too. The best numbers are undoubtedly "Boobarella", "Love Love Love"
and "I Don't Wanna Get Involved". All in all, it's cool, but it doesn't
compare to the stuff they released since '92. -TNT
* * *. 12 Tracks; 35 minutes.
//end old05
//:old06
I DON'T WANT TO GROW UP
Descendents (New Alliance Records, 1985) This is the band that started
it all, kids. This album shaped the sound of punk to come forever by
departing from the violent and noisy sounds of N.Y. hardcore or British punk
rock to explore some new form of melodic rock'n'roll. Fast, zany and
efficient, the Descendents and this album in particular would more or less
give birth to SoCal punk, pop punk and what we now call skatepunk. It
includes classics like: I Don't Want to Grow Up, Descendents, Rockstar and
Can't Go Back. So it his therefore a must have and no punk rock collection
would be complete without it. -pink
* * * * *. 14 Tracks; 28 minutes.
//end old06
//:old07
KILL KILL KILL
Jerry's Kids (Taang!, 1992) I had heard the "Spymaster" 7" before, and
if you had asked me then I would have told you Jerry's Kids was a pretty
decent band. Problem is, I should have expected the unexpected for this,
because this roughly sounds like a cross between Poison Idea (who rule) and
Jimi Hendrix (who sucks when he's doing 8-minute solos, so basically he sucks
all the time). There are very few good tracks on this LP: there's
"Spymaster" (I think it's the same version as on the 7" -- great driving
song), "Bad Trip".. I can't think of any other song worth the time listening
to it. Still, congrats to the great intro for "Satan's Boy" -- the song is
way too long but I love that kind of alienating samples. Overall, this is
VERY experimental, so it's not an essential piece o' plastic. -TNT
* «. 13 Tracks; 40 minutes.
//end old07
//:old08
LIVE AT KINGS HEAD INN [10"]
Avail (Old Glory, 1994) This live 10" was recorded in 1993, and altough
I've never seen those guys live, I can understand why some people were
deceived of their recordings, because they didn't bring out the energy this
band has. The sound quality on this is not so great but the songs sound
really good, Avail really seem to put on a great show. Songs included on
this 10" are "Sidewalk" and "Song" (from "Dixie"), "Timeframe",
"Observations", "Predictable", "Pinned Up" and "Forgotten" (from "Satiate"),
"Connection" (from the "Attempt To Regress" 7") and an astonishing cover of
the Violent Femmes' "Kiss Off". Neat -- if you don't really care about the
sound quality. -TNT
* * * «. 9 Tracks; 25 minutes.
//end old08
//:old09
POWER TOOLS
Horace Pinker (Earwax, 1994) This band is your usual O.C.-influenced
MTV-generation band. They're a trio, but that won't stop me from comparing
them to Schleprock. You know, they've got that "full sound" Dr. Strange is
famous for. The singer reminds me of Tim (Avail) on a couple of songs.
Their biggest problem is in the songwriting department. None of their songs
are catchy, the best ones in the bunch ("First Everything", "Rescue Me", "No
Thoughts") are just barely listenable. I think _generic_ really is the word
that describes best this band. There ARE actually worse albums, but this
surely isn't the most original record I've heard. -TNT
* *. 14 Tracks; 40 minutes.
//end old09
//:old10
QUEBEC CRUSADE FOR AUDITIVE SAVAGERY PROLIFERATION 7"
Various artists (Doomsday Machine, 1995) This is a compilation of many
hardcore bands living in the Quebec province. Overall this is not bad,
considering it's got lots of energy, but I didn't like a couple of songs on
it. The best numbers include songs from Immoral Squad, The Fact Remains That
and Global Holocaust. If you're into that type of noise, this is probably
worth checking out. -TNT
* * *. 9 Tracks; 12 minutes.
//end old10
//:old11
SLEEP ASYLUM
Uzi (Matador, 1993 -- orig. 1986) I'll just tell you the story as I read
it. Uzi was a band that started around 1983 in Boston. They did a couple
shows, then they recorded an album, "Sleep Asylum", between 1984 & 1985,
but disbanded before the album came out in 1986 on Homestead records.
Critically acclaimed in the underground scene at its release, it then went
out of print & reached an almost legendary state, on the East Coast at
least. What is left is a strange yet successful work of mixing between
acoustic & electronic sounds, tape looping & "real" instruments, with a
delicious, inventive, new-wave, European sounding to it -- Two
distinguishable styles battling but never conflicting with each other. Mind
you, it's close to perfection. Well, it's been reissued on Matador records,
so you can now find it on CD & enjoy it as I do. Okay, there's only six
songs, but seriously, most full-length albums don't hold that much quality in
their songs. The only frustration you'll ever get from listening to this
disc is that since Uzi never recorded anything else, this is all you can get
from them. FIND THIS NOW & BUY IT. -Eerie
* * * * «. 6 Tracks; 23 minutes.
//end old11
//:old12
SONGS ABOUT FUCKING
Big Black (Touch 'N Go, 1987) Heard about that guy Steve Albini? Yeah,
grunger, he's that guy who recorded Nirvana's "In Utero". Plus a couple
zillion records you've never heard about. Okay. He & two guys were the Big
Black crew. That band from Chicago has died since long, but it's cool to
look back at it & check it out. What's it like? Imagine what Ministry would
be like if they were into indie rock & cut their songs to 2 or 3 minutes
each. I don't know what it means to you but it's the best definition I can
give. Oh well. The band had great impact on the Chicago scene at its times.
I can understand this. I mean, it _is_ subversive. And that's a good thing.
Overall, heavy record, simple songs, really neat lyrics, but the beatbox
sound kind of sucks sometimes. -Eerie
* * * «. 14 Tracks; 32 minutes.
//end old12
//:old13
THE CHOICE OF A NEW GENERATION
Fifteen (Lookout, 1992) This sucks! Don't buy this crap! It's got that
early Lookout sound, in fact it's pretty much like old Green Day, but it's
totally hookless and wimpy-whiny pop music. I played the record in 45 a
couple of times and it sounded better, but it still sucked. And they like
Guns'n'Roses. -TNT
* «. 12 Tracks; 40 minutes.
//end old13
//:old14
WESTING (BY MUSKET AND SEXTANT)
Pavement (Drag City, 1993) New Pavement stuff? Not really. This is a
compilation of a few old EP's from my personal favorite band: their first
ever disc "Slay Tracks (1933-1969)", "Demolition Plot J-7", "Perfect Sound
Forever" & the "Summer Babe" single -- that song is took from the album
"Slanted & Enchanted". So...? Dammit, do I know? It sure is the LAST CD
you'd give to someone who doesn't know the band. Or well, maybe not. It
depends on the mental sanity of the person, I guess. Features the
never-been-hits "You're killing me", "Debris Slide" & "Baptist Blacktick".
Full of background noise, tape hiss & all that. Indie rock sure is a fun
world. -Eerie
* * * «. 23 Tracks; 49 minutes.
//end old14
//end oldies
===============================================================================
===============================================================================
//:singles
I hate singles for loving you -- Err, nevermind
-------------------------------------------------------------------------------
by Eerie.
Once again, here I am with some songs I've heard in the couple last weeks.
My comments are optional.
By the way, Liz Phair is recording a new album! ALL PRAISE THY DEVIL!
ANTI-POLITIQUE (No One Is Innocent & Timide et Sans Complexe) Okay,
it's a French song. Hah. The lyrics are so great, tho, I had to include it
in there. If you have the chance, give it a try.
BRAIN STEW/JADED (Green Day) I _highly_ prefer listening to Green Day
than any derivate wanna-be punk rock band. Actually, I think I'm starting to
like their new songs. I could go on and on about why, and give some useless
theories, but nevermind.
CAUGHT A LITE SNEEZE (Tori Amos) Kind of different, more free than
what we're used to with Tori, yet it's common ground. From what I've heard,
the record is completely radical.
EVEN GRABLE (Treble Charger) Interesting band from the ontarian Sonic
Unyon roster. Not too original, but hey, it's indie.
GLYCERINE (Bush) Using no drums in a rock song was a great idea. Too
bad it's Bush that did it. (And too bad they added those cheesy strings.)
Rumors say Albini's gonna produce their next disc. How's that for selling
out?
NATURAL ONE (Folk Implosion) Are those guys aware of the existence of
Jon Spencer? Bah, fuck it, they're not even as good as him. I like the loud
drum beat, but overall, it's way too radio friendly to be of any interest.
SANTA MONICA (Everclear) Uninteresting. Green Day did it first.
THE IMMORTAL (Blur) (Alright, I'm not even sure it's the exact title,
but I'm almost sure that's it...) Well, as I always say, the only decent
Blur song is the Pet Shop Boys' remix of "Girls & Boys". However, the video
is a film. Wow.
TICKING (Loud Lucy) Ack! Pht! POSEURS! We don't care about those
guys! "Loud Lucy", what the fuck were they thinking when they got that
stupid name? Do they think it's a GRUNGE thing or a PUNK ROCK thing? Or
maybe they're that kind of band that say "We're no punk, we're just catchy
rock 'n roll" and then smile, showing ultra-shiny teeth. Geesh.
TRIGGER HAPPY JACK (DRIVE BY A GO-GO) (Poe) And it's another "What the
fuck?" So what if the singer's a chick and her shirt says "Psycho"?
WONDERWALL (Oasis) Fuck, those guys are ripping Mike Flowers off!
Insert some cheesy conclusion here.
//end singles
===============================================================================
===============================================================================
//:comp
The Compiler's Picks
-------------------------------------------------------------------------------
by The Naughty Tycoon.
Oh well, this is a really old thingie that first appeared very long ago. For
those just tuning in, this spot is reserved for the use of someone in the
staff who did a homemade compilation type o' thing and then decided he had so
much time on his hands he could even type in the listing of that compilation,
for the fuck of it.
This month's feature (sounds like a movie preview, isn't it?) is a 90-minute
punk rock/hardcore compilation I made a couple of weeks ago. Here's the
listing, as usual if you want the tape and live in the Quebec City area, we
can set something up so you can get it, and if you live somewhere else, I
*think* that sending a tape through the mail isn't that much more expensive
than just any letter, so send a stamp or a nice letter and it's gonna be
alright.. (Actually, I know that virtually _nobody_ is gonna write me, but
still.)
Title: Go Fuck Yourself
Author: The Naughty Tycoon
Label: Population Control
Duration: 90 minutes
Description: I already talked about it, you Alzheimer!
(note: I just realized that the first song on this compilation is the very
same one than on the last Compiler's Picks (ish-15). Wow. That must mean
something -- don't ask me what, though.)
Song Band Album
ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ
South Bound 95 Avail Dixie
Still In A Punk Band Funeral Oration Funeral Oration
The Inland Empire Strikes Back Sicko Chef Boy R U Dumb
Sick File Archers Of Loaf Icky Mettle
These Are The Quotes From Our
Favorite 80's Movies The Bouncing Souls The Good, The Bad..
Male Model Boris The Sprinkler Male Model 7"
Today Your Love, Tomorrow.. Ramones Loco Live
Punk No Die Total Chaos Patriotic Shock
Ain't It Right? Government Issue dunno..
Heterobash Was Flipper Gus Heterobash Was Flipper 7"
Homophobes Are Just Pissed.. Propagandhi Fat Music.. (V/A)
Home Is Where The Heart Is Dead Fucking Last Proud To Be
Fashion Monkeys Sprained Ankle (demo)
I Need Therapy Screeching Weasel Kill The Musicians
Right Now Naked Aggression Bitter Youth? not sure..
CFR Asexuals Be What You Want
This Place Sucks New Bomb Turks Drunk On Cock EP
Girl Who Lives On Heaven Hill Husker D New Day Rising
Go Wild Culture Shock Go Wild
Regress No Way 7 Seconds Walk Together..
For Good Measure The Iconoclasts (split 7" w/ Blink)
No Future Ripcordz Canadian As Fuck
The Universal Order Immoral Squad Quebec Crusade.. (V/A)
White Bread NOFX Maximum Rock'N'Roll
Not Listening Snuff 7"
Dehumanize The Bollweevils Stick Your Neck Out
Better Than Yours 8Bark Structurally Sound
Raum Der Zeit Wizo Uuaarrgh!
Always On My Mind Weston A Real-Life Story..
Where's Your Mom? Chixdiggit Humped (demo)
Johnny's Got A Problem DI Live At A Dive
Scutty Men'O'Steel Can I Have A Piece?
Leaning Like A Barn Tilt 'Til It Kills
That Girl The Queers Move Back Home
Wendy Descendents Liveage
In The John 88 Fingers Louie Go Away 7"
Shy Punchbuggy All-Nite Christian..
Chaps My Hide Guttermouth Friendly People
Out Of Bounds No Fun At All Out Of Bounds
Na Na Na (Stolen Song) The Swiddles (demo)
It's Your Right The Wrench Worry When We Get There
Rosey Picture Coffin Break Rupture
Go Away Reset Concerned (demo)
Finally Here Down By Law Blue
Last Believer Good Riddance Gidget 7"
Spear & Magic Helmet The Gits Enter: The Conquering..
California Surf Queen Didjits Fizzjob
Seventeen Poles Supersuckers La Mano Cornuda
That's a great total of 48 songs, and YES, it fits on one sole 90-minute
tape. If you don't believe me, write me and I'll _prove_ you it's not a joke
by sending the tape back.. See you in the pit! (what a silly ending..)
//end comp
===============================================================================
===============================================================================
//:pick
Picklists
-------------------------------------------------------------------------------
by the ACE guys who care about it.
Again this month and hopefully for the months to come, the picklists are
here, for amusement purpose only!
Eerie's highly incoherent picks
-------------------------------
A LOVE SUPREME (John Coltrane)
BIRD'S BEST BOP (Charlie Parker)
CAUGHT A LITE SNEEZE [EP] (Tori Amos)
EXIT PLANET DUST (The Chemical Brothers)
HERE'S WHERE THE STRINGS COME IN (Superchunk)
MELLOW GOLD (Beck)
PURPLE BLUE (Eric's Trip)
SLEEP ASYLUM (Uzi)
WESTING (BY MUSKET AND SEXTANT) (Pavement)
WHIP-SMART (Liz Phair)
Pink Lincoln's hyper hermetic yet decent picks
----------------------------------------------
..AND NO ONE ELSE WANTED TO PLAY (SNFU)
8 TESTICLED POGO MACHINE (Boris The Sprinkler)
HUMPED [Demo] (Chixdiggit)
LAUGH WHILE YOU CAN, MONKEY BOY (Sicko)
LOVE SONGS FOR THE RETARDED (The Queers)
MAXIMUM ROCK'N'ROLL (NOFX)
MECONIUM (Les Secrtaires Volantes)
NEVER MIND THE BOLLOCKS (Sex Pistols)
PUNK SUCKS (Various artists)
THE RIVERDALES (The Riverdales)
Redge's quick & dirty pickles
-----------------------------
ANOTHER DAY IN PARADISE (Strung Out)
BEAT OFF (The Queers)
DUH! (Lag Wagon)
FOR GOD AND COUNTRY (Good Riddance)
FRIENDLY PEOPLE (Guttermouth)
HOW TO CLEAN EVERYTHING (Propagandhi)
I HEARD THEY SUCK LIVE (NOFX)
RAMONESMANIA (Ramones)
SUFFER (Bad Religion)
UUAARRGH! (Wizo)
The Naughty Tycoon's super motivated picks
------------------------------------------
A SLICE OF LEMON (Various artists)
BE WHAT YOU WANT (Asexuals)
CAN I HAVE A PIECE? (Men'O'Steel)
FUNERAL ORATION (Funeral Oration)
GO WILD (Culture Shock)
HETEROBASH WASH FLIPPER [7"] (Gus)
LIVE FOREVER OR DIE TRYING (The Humpers)
MALE MODEL [7"] (Boris The Sprinkler)
OLD SCHOOL (7 Seconds)
THE LATEST SPRAINED ANKLE, NOW IN STUDIO [Demo] (Sprained Ankle)
//end pick
===============================================================================
===============================================================================
//:inside
Inside Stuph
-------------------------------------------------------------------------------
by Eerie and the editor-type guys.
Ok. This is for all ACE members to read (and enjoy =).. It contains useful
information and we felt like it was the best place to put it. It may look
like very boring stuff, but it is VERY important that you read it all..
1) The filenames. To avoid confusion, pleasepleaseplease call your files
XX-TITLE.019, where XX are your initials (2 letters make it betta), TITLE
is any title (like if yo article is called "the bands that suck" you can
call the file XX-SUCK.019), and the 019 is the ish00e numba. Kinda easy eh?
jeah foo.. Well.. There are some names we'd like ya to use for certain
articles, and here they ARE!
reviews XX-REV.019
oldies XX-OLD.019
picklist XX-PICK.019
compilers picks XX-COMP.019
discography XX-DISC.019
2) The reviews. Be *S*U*R*E* to follow the original review format thats
already used by everyone anyway. Blah blah.. Oh. Keep an eye to add the
"time" datas.. Like.. the "xx Tracks; xx minutes" stuff, y'know.. Easy
stuff..
3) The DEADLINE. This is an important one. Okay, from now, the deadline of
ANY issue is set to the 25th of each month. If its not on the WHQ on the
25th (keep reading for how to send it to the WHQ), well it will be in the
next issue, period. I think that the simple fact that you are a member of
ACE ezine SHOULD make that you always remember to do all the stuff you
need. Also, don't wait till the last second to send us your stuff. We like
to have articles by the middle of the month.
4) How to send articles to us. There are a few ways.
a) Simply call on Patriotic Shock, (2400 baud! wow!) and upload it there
foolio.. The more it can takes you up is like.. five minutes.. Not so
long. And normally you only have to call it once a month. (that is,
BEFORE THE 25TH! =)
b) Err.. cant think of anymore ways. *IF* i get my inet access back,
THEN i will be able to get stuff via internet, but for now it's plainly
impossible for me, sorry.
In other words, we would LOOOOVE to call you voice every month to remind
you to do yer stuff.. But we can't because we are all broke.
5) Ah yea, was about to forget this one. We need your VOICE phone number
and first name (and correct pronounciation <g>).. So that's another thing
you will have to send us. Don't worry tho, this is only for calls regarding
ACE. We're always kinda pissed off when we need to contact a specific ACE
member and we can't because we don't have his/her number. (Why did I add
"her"? theres no chick in ACE damnit!)
6) a last thing.. you need to do your picklists every month! Thats VERY
easy and VERY important. (tnt says that if its important it must be boring
but dont believe him.)
7) ummm.. oh well, I think that's all. Oh. If you want the phone number of
the ACE editors, just ask us. We will give it to you. Umm.. Oh yea, I
really suggest you to apply on Patriotic Shock if you haven't done so
yet. That's where everything happens, kinda..
Thanks for reading this, dudes. Now, WORK! SLAVES! <crack whip>
//end inside
===============================================================================
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,$$$$g s$$$$Ss $$$$ $$$$ $$$$ $$$$
'""ü$$$s $$"" `""$mmm$$$$" `""$mmm$$$$"
ACE #18 and all of its contents is copyrighted to their respective authors.
Please call Patriotic Shock for any information about ACE zine.
