Micky & MALLORY | Bob Mould At the Starfish Room on Sat. Oct.17 Bob Mould played his last show in North America with a rock band. That appearance was memorable—I was shocked my ears weren't ringing because his shows are known to be loud. However, this time his show was toned down and boring. Bob Mould, formerly frontman for Sugar and Husker Du, had no desire to play any hits from his previous bands, in fact when requested to do so he responded, “Start your own fuck’n band and play that song.” On the plus side, his sound was superb, putting out a wall of power. His music has deep-rooted emotion that moves all kinds. Otherwise, the sold out show was disappointing. The drummer, Matt Hammon, was pushed way back, and even though I had a good seat I couldn't see him. The bass player, Jim Wilson, seemed to put little effort or emotion into his playing. Bob Mould, however, played guitar fabulously, sweating down the front of his T-shirt; and the second guitarist, Michael Cerveris, was getting into it a bit with a few jumps and kicks. I liked the stay puff marshmallow figure Mould had on along the wall behind him, but the biggest bang came from Micky. He fell off his chair, breaking it, and the entire upper floor turned and looked at him. Of course I missed the action while in the bathroom, but what a doozy of a bruise! The Fantomas At the Starfish Room on Sat. Oct.17 Would you sell your soul to the devil to be the best? It seems that these four have and are now doing their penance. Crowd controt gates went up in front of the stage for the Fantomas’ show. Their vocalist: Mike Patton, formerly from Faith No More. The rest of the band also has ptior experience: Trevor Dunn on bass was formerly with Mr. Bungle; Buzz Osborne on guitar was from The Melvins; and drummer Dave Combardo was a member of Slayer. They each proved their incredible talent with quick time changes and complex riffs that rarely repeated. The down side is that their incredibly speedy changes prevent- ed the songs from developing. Before a beat could get going they changed the sound or the song was over. One might think these guys were just jamming, but these were actually rehearsed and mem- orized songs, if we can really call them songs. But let’s remember no one likes a show off! The band practically ignored the crowd and focused on the drums and Mike's hand motions. You could see the crowd wanting so badly to mosh, groove, bop heads whatever, but as soon as they would try to do so; Room change made them stop. I suppose the crowd control gates were to protect the band from angry fans. The Fantomas drew on fans of four different bands to sell out their show. To my knowledge the Fantomas don’t have a CD out or a video. These fans relied only on the names of the members and they let their disappointment be heard. Guys were screaming “Play a song” and the band’s only response was, “Thank you Vancouver.” I don't think the Fantomas were surprised by the fans’ response, since they had played in San Francisco were Mike Patton is established and where they got the same response. Knowing that they are completely radio unfriendly, they have created their own record label which remains unnamed right now. Here is a list of places the Fantomas could be played: back- ground music at a bondage shop, when you're trying to get a date to leave, when you're manic and nothing is happening fast enough for you, when you're trying to ignore pain while being pierced, or while performing some sacrile- gious ceremony. Personally, I was teased by Mike Patton's voice. I wanted him so badly to break into a Faith No More song, even just one verse would have been enough. But I was left at first base with a raging desire. It was so hard to take that I had to leave. Nettwerk’s new smash hit! JOCHEN BIERTUMPEL kinny Puppy just lets the S= flow with its new CD, Dystemper. The techno blasts into your mind as it shouts, “Step aside, we'll spin a track that will bring the house down!” Throughout this CD, there are specially edited voices speak- ing above the constant bass of the songs. This collection offers a new perspective on music. The sounds vary, from loud and high pitched screeches followed by shallow whining to subdued, low shrieks. One can hardly recognize the instruments used to create them. Most of the compilation sounds very attractive; it is sure to be picked up by nightclubs. New listeners, however, might find Dystemper a tad too psychot- ic. The more upbeat songs are more enjoyable than the many Sure Copy Attn: !!! Students © Copies—self-service ¢ Colour Laser Copies Special offer with Student ID e Colour Laser transparencies e Cerlox Binding For Presentations Fax, desktop publishing, typesetting 06 cents 60% off 40% off 50% off slow ones. Some of these slower songs seem very dark and are sung with low voices. This CD is, to put it simply, weird. The music and voice edits are so unusual and freaky that you may start wondering, halfway through, where the ideas for them came from. If you are totally addicted to hardcore tech- no, Dystemper is for you. The Businessmen I arrived back in Burnaby after fifteen years of growing up in a desert valley. I pictured abundant opportunities but quickly forgot all that jazz. I figured I could blend in with the wasted (who flocked on the streets) in a hooded fleece which matched my eyes. Theyd see me a street fixture go to prey on the guilty helpless and kind not on me another one of the collectively resigned I never trippe any trouble In’s hundred§midnight jaunts So I tossed aside my fleece one night And bore a simple tee Off to see a movie I shortcut though the alleyway suddenly a different kind of man. A six-pack wolfpack was closing in on a new design for my wallet Suddenly one spoke or growled and howled, “Don't ya think I got.a knife?” he asked as if in need of affirmation the blade he thrust flush to my exposed throat. The serrated blade dug as though my neck was a steak and these boys were just out for a snack I handed out my bills a twenty and a five like an ATM serving the number one industry in North America. by Court Caldwell Page 12 November 4 1998 The Other Press