February 12, 2003 Culture the other press CD Reviews Cinderella comes to Douglas College © page 10 http://otherpress.douglas.bc.ca Justin Ray OP Contributor When the time comes for the Academy Awards, the best movies always tend to have been released at the very end of the preceding year. That way, the top contenders are fresh in the minds of voters. The same thing seems to have happened with Bic Runga. Technically, Bic Runga’s second album Beautiful Collision was released near the end of 2002. Unfortunately, I didn’t get a chance to hear it until this week. Never mind that. There’s a good reason we haven't heard of Runga: the twenty-six year old star of Chinese and Maori descent is from Christchurch, where she became the best-selling local artist in New Zealand, and garnered a slew of Silver Scrolls (NZ’s Grammy equiva- lent). Every award was well-earned. The gorgeous, self- producing singer-songwriter is probably New Zealand’s best music export to hit North America. Beautiful was crafted with the sensibility and imagina- tion to which many artists can only aspire, and some can only accomplish on singles. The album is as perfect as it fimanda Aikman fissistant Culture Editor With Red Devil Dawn, Crooked Fingers’ third full-length album, it is finally time to accept that Eric Bachmann is all growed up. The gravely-voiced elder statesman of indie rock takes another step away from the raucous, anthemic songs of his Archers of Loaf days to create this batch of melodic, disturbing lullabies. There are still moments in “Big Darkness,” “You Threw a Spark,” and “Sweet Marie,” when he enlists that trademark growl—imagine Bruce Springsteen with a strep infection—which endeared him to so many during the Archers’ reign in the mid-’90s. But there is no denying that there has been a shift in the Bachmann continuum. With its violin and pulsing keyboards, Red Devil Dawn’ sparse and eerie opening track “Big Darkness” could just as easily have been the eleventh track on Crooked Fingers’ brilliant self-titled debut. Red Devil Dawn in its entirety seems to be a more logical follow-up to their debut than their second album, 2001’s less accessible Bring on the Snakes. It is more cohesive than their sophomore effort, and while sadly it lacks the banjo of the first album, the mandolins and trumpets manage to pick up the slack nice- ly. This is an album filled with low-key, listenable songs, almost Neil Diamand-esque at times, but don’t let the arrangements fool you—these songs aren't pretty, they just The Vancouver Opera Touring Ensemble presents a staged adaptation of Rossini’s comic opera La Cenerentola on February 20 as part of Douglas College's free Noon at New West concert series. The opera, which takes its name and story from the fairy tale Cinderella, has been adapted for young audiences and will be per- formed in English. It is co-sponsored by the Douglas College Music and Stagecraft departments. Vancouver Opera is celebrating its 30th season of bring- could be; there is no filler here. Runga’s voice is mesmeri and sweet, quite like Nina Persson of The Cardigans. There are also musical similarities with The Cardigans But, as much as I like that band, Runga’s musical rang stretches far beyond. Her songwriting savvy reminds m of Rufus Wainwright, using just the right exotic sound. and key changes without overdoing it. Baritone hummin and a banjo backs up Runga’s simmering voice on “The B All And End All,” while pizzicato strings, piano and per cussion on the title track provide the backdrop to Runga’ incredible vocal range. There is a definite diversity withi the package, yet it’s uniform and wonderfully wrapped. An easily digestible bonne bouche, Beautiful Collision i a very accessible album that would be an intelligent addi tion to your collection. JR Justin can be reached at opcomment@hotmail.com. He wel comes submissions from independent bands and musicians. look that way. Bachmann continues to pen the provoca tive and often heart-wrenching lyrics that made earl Crooked Finger’s songs like “Broken Man” and “Unde Sad Stars” instantly beloved by suicidal loners the whol world over. “Covered in brown and coming undone/w are what we will not become,” sings Bachmann in “Bi Darkness,” a tale of a dying town where “nothing moves,’ and “Drinking sparkling wine and sniffing glue/ I’ve bee looking for some soft abuse” sets the scene for the mari achi-tinged “Sweet Marie.” Take that Mr. Diamond. Perhaps Red Devil Dawn maintains the Crooked Fingers status quo rather than taking any huge new chances, but can live with that when the status quo is this good. Lik all recovering Archers of Loaf addicts I am still stingin from their departure, and I have to admit there was a par of me hoping Bachmann would throw us a bone and pic things up a little here. That was not the case, so I suppos I will have to “settle” for the subtlety, maturity and tragi beauty of the songs on Red Devil Dawn. If Eri Bachmann has to grow up, I guess I should too. Crooked Fingers performs with Parlour Steps on Februa 13th at the Piccadilly Pub in Vancouver. ing opera to young audiences in schools and communi- ty venues in B.C. Noon at New West takes place most Thursdays (September through April) at 12:30p.m. All perform- ances are free and open to the public and take place in the College's Performing Arts Theatre, fourth floor north at 700 Royal Avenue, New Westminster (one block north of the New West SkyTrain station). For more information, please call 604-527-5495.