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BUCKET Issue 02
"we're all lookin' for a life worth leadin';
that's why we cry ourselves to sleep.." -- uncle tupelo
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BUCKET issue #02
BUCKET is a dto production. October 24, 1996
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From BUCKET To You by murmur
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With eerie in Quebec for three weeks, pretty much the whole issue was put
together by me. With him back and around for next issue we can look forward
to his R.E.M. review and a whole lot more. In the meantime, I hope you're
satiated by skinhorse's interview with Hum's Matt Talbot and six more album
reviews.
Initial response has been very positive, and we hope that we can improve and
release a quality music e'zine much into the future.
I won't ramble. Go for the substance.
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The BUCKET Gob o' Contents by BUCKET staff
--------------------------------------------------------- --------------------
From BUCKET To You by murmur
The BUCKET Gob o' Contents by BUCKET staff
Interview: Matt Talbot of Hum by skinhorse
Spins: Archers of Loaf, Tool, New Radiant Storm King, by BUCKET writers
Silver Jews, Din, Kaia
Tour Dates by BUCKET staff
From WESN 88.1 FM by murmur
In the next issue of BUCKET by murmur
--------------------------------------------------------- --------------------
Interview: Matt Talbot of Hum by skinhorse
--------------------------------------------------------- --------------------
[ Editor's note: This interview was originally done for the Illinois
Wesleyan _Argus_ as part of the feature article on Far Left Carnival III,
which took place on September 7 on the Illinois Wesleyan University quad,
featuring Hum, NIL8, Roots Rock Society, Free Range Chicken, and Busker
Soundcheck. Space constraints forced 1,300 words to be chopped from the
text in the _Argus_, and dear skinhorse has happily consented for the
entire text of the interview to be reproduced here in BUCKET. This text,
also available at the WESN web site (http://www.iwu.edu/~wesn), has been
left as skinhorse initially had it, including references to what would
have been at that time the impending Far Left Carnival III. This in mind,
here is the text of skinhorse's phone interview, with introduction (minus
those points just mentioned). ]
... Anyone who has run into a member of Hum at some point in time (and if you
ever go to bars in Champaign, you're sure to run into one of them) knows that
they are local celebrities with incredible humility and modesty about their
astounding music and success. They can be almost self-deprecating; upon
meeting Bryan St. Pere, my friend and I informed him that he was one of the
most incredible drummers we've ever heard (truth), to which he responded,
"Well, then you sure haven't heard many drummers." Special thanks to Matt
for agreeing to do an interview with a radio station that he knew next to
nothing about, and for offering to help us with promotion beyond the call of
duty of any band that has achieved such great things.
q: To make you reiterate something you've probably told a million
interviewers before, can you tell me a little bit about the band's
history?
a: I started the band with some guys when I was in college in '89, no big
aspirations or anything. We played a lot a shows around town and got
lucky in that we found people to put out our music, even at a point where
I didn't think we were all that good. Eventually we wanted to play a few
shows out of town, so we booked some shows ourselves... I don't know,
it's been a very slow and gradual thing to the point we're at now. I
don't think we were ever seeking to be on a major label or anything like
that, but when the opportunity came our way two years ago, it seemed like
a good way to get more time to make more music and to get it out to
people. It seemed like a logical step for us.
q: And of course by that point you had already put some albums out...
a: Yeah, one in '91 [_Fillet Show_ on Headhunter/Cargo] and again in '93
[_Electra 2000_ on Headhunter/Cargo], a couple singles in there, and then
there was the astronaut record last year [_You'd Prefer an Astronaut_ on
rca]. But we're pretty slow; I mean, for being together seven years I
wish we had more music out, but we're not very fast songwriters.
q: Since you didn't aspire to be on a major label, how did that happen?
a: I don't want to make it sound like something we were totally against,
like we were a big indie band; we just got lucky.... The story goes that
this guy from RCA was in Chicago. He went to some small record store and
asked for new local stuff, and they had our _Electra 2000_ record in, so
they gave him that along with five or six other Illinois bands. The guy
listened to our cd on the airplane ride home, and liked it, and called us
to ask us if he could come see us play. He came to see us play at the
Lounge Ax [in Chicago], and then he said we could be on RCA if we wanted
to be. We said, "ok, we'll think about it," and about eight months
later, we decided to do it. We just waited until we had a chance to talk
to some other labels and educate ourselves on what we were getting
ourselves into...
q: Speaking of recording for RCA, I heard a while back that the band is
going to start recording soon.
a: Yeah, we're getting to ready to record again in October.
q: Can you give us an idea of what you plan to accomplish with the next
record?
a: We're still writing some songs, and I can't say for sure exactly what the
record's going to sound like. We're going to do it again with Keith
[Cleversley, producer of _You'd Prefer an Astronaut_] at his studio. We
felt like we had a good experience there, and by the end of it Keith
really liked our music and said he'd love to do another record with us.
He'd never heard our music, seen us live, or even heard of us when we
went in there to do the album. It's been a long time since we did that
record -- two years, anyway -- and we feel like we've gotten better, and
he's called us and he thinks he's gotten better at his job too. We feel
like we can go in there and make a record that's not a carbon copy of the
last one; we've got lots of different kinds of songs now. We thought
it'd be neat to work with the same guy two times in a row, so we can go
in there the first day, start making music and not have to worry about
things like where everybody's coming from, or egos, stuff like that. It
should be fun. We're trying to go into it as relaxed as we can. We've
got ten or so songs written, and hopefully we should have some more by
the time we get there.
q: Are we going to get a preview of the new songs at Far Left Carnival?
a: Yeah. We've been playing ten or twelve songs in each set lately -- five
or so from _Astronaut_, a couple from _Electra 2000_, and then three or
four new ones. We just wrote another one that we're enjoying playing, so
sometimes we're playing that too.... We understand that most people
would rather hear songs that we know, and I would too, you know, but we
gotta make sure we play the new songs and see how they sound.
q: Speak for yourself; I'd rather hear new tunes too.
a: Yeah, I'm kinda that way. I think it depends on what kind of music fan
you are and how you feel about the band.
q: If you could burn down a fraternity house, which one would it be and why?
a: [laughs] Uh, I just don't have it in me to commit arson. I just don't
think i could do it. I, uh, I get along fine with the members of our
fraternal community. I got no complaints.
q: You guys have accomplished a lot that most so-called national acts
haven't been able to accomplish. You've got a cult following as well as
a continually growing new fan base, and yet you manage to continue
satisfying the old fans. You've had a massive hit single and a couple
other big ones... what's the next step from here as you see it?
a: I don't know, world domination, selling out, spandex, Pepsi commercials.
[laughs] No, I just hope that we can keep going on the same track that
we're on, maybe reach a larger audience. I'm finally getting comfortable
with playing in front of a lot people; before, it kind of freaked me out,
and now, it really doesn't bother me and it's kind of exciting to play
bigger shows. Hopefully we can still keep it real gradual, keep our wits
about us.
We're still mentally prepared with the notion that our next record might
not have any songs that get played on the radio, that we might not reach
any new fans, or even lose some fans. There are no guarantees, so we
just try to keep an open mind and try to satisfy ourselves with our
music; whatever happens from there happens. We do try to maintain a
little bit of self-respect along the way if we possibly can. It's not
always possible.
q: Just on the commercial side of things, how many records has Hum sold?
a: I think it's around 200,000... most of those were sold all at one time,
when "Stars" was played last summer and fall. A guy from the label
called me a week ago and told me it was still selling 300 or 400 copies a
week. we're not really getting played on the radio anymore, so I think
that's mostly through word of mouth or something.
q: Why should the uninitiated listener check out Hum?
a: Why should he? Man, that's a tough one. It's hard for me to talk our
music, the merits of it, and what's good or bad about it. We're just
four guys who work to write good songs and we put a lot of mental work
into our songs, probably too much so sometimes; we kinda drive ourselves
crazy, and I don't know sometimes that the songs turn out that great for
having so much work put into them. I'd just say that we put a lot of
work and passion into what we do. Hopefully that shows up in the music.
q: On a less philosophical level, what kind of musical influences make Hum
sound like Hum?
a: I think it's the different elements of the band coming together. I think
we sound like all the different kinds of music that we all like. We all
listen to completely different stuff. We're lucky we got a good drummer
[Bryan St. Pere] who really likes Van Halen and Rush. I'm more into
atmospheric guitar stuff. The other guys [guitarist Tim Lash and bassist
Jeff Dimpsey] are into other music... at the end of the day, it sounds
like Hum.
q: Do you feel like a national act or a Champaign band at heart?
a: Well, we feel like a Champaign band, and we hope we forever shall be...
[laughs]. I really like where we're at, in terms of success, if you want
to call it that. It's a really comfortable place to be. It hasn't
created some kind of really weird lifestyle. We're still the same guys,
no new wardrobe or anything. I just feel like we're a Champaign band
that got really lucky; when we tour, instead of playing in front of
twenty people, we get to play in front of four hundred, or sometimes
4,000, and that's a fun thing to do. It's a pretty cool place to be.
q: Speaking of the "Champaign scene," what do you think of its merits?
A: I like it here... but people, especially people who don't really know
what they're talking about, always ask, "dude, what's up with that
Champaign scene," and "what's that Champaign scene like?" Well, it's a
bunch of guys who sit around at bars or around their porch drinking beer
and playing bad loud rock music. It's pretty much like any other lazy
college town. [laughs]
Maybe, compared to some communities, it's more supportive of our kind of
music. I don't know that it's any different from any other college town,
really.
q: It seems like there is a larger number of bands, especially quality
bands.
a: Well, it's being going on down here for so long.... There are just a few
success stories every now and then that keep people in town interested in
it, and kids come to college here, and they see bands they like. They
think, "wow, this is just a Champaign band, and i can go see them at
Mabel's or the Blind Pig, and that's pretty neat." I mean, that's how I
got into it. I didn't know anything about being in a band, or that I
would ever want to be in a band. I didn't even really know anything
about the kind of music that I like now. I was just in college, and I
met some guys, and they sat around listening to music and drinking beer,
and then they had their own band that sucked, but they had a great time.
[laughs] It was kind of a cool thing. I said, "oh, that's cool. I
think I'll do that for a while." [laughs]
So I'm sure that's how lots of people start.... I will say that there
are lots of guys who grew up here who are really good players and write
really good songs. A lot of the bands around here are people who are
college students or were college students, but it seems like a [lot of
local talent] comes out of dudes who just grew up in Urbana. I'm not
sure why that is.
q: Anything you want to say in conclusion?
a: We're really happy to come up [to Bloomington] and play. It's been a
really long time since we played there. It's close enough to home. We
should do it more often.
--------------------------------------------------------- --------------------
Spins by BUCKET writers
--------------------------------------------------------- --------------------
Archers of Loaf, _The Speed of Cattle_ (Alias)
Archers of Loaf, _All The Nations Airports_ (Alias/Elektra)
It seems like an odd endeavor to discover a band through a b-sides and
rarities compilation, but then again, the Archers of Loaf don't qualify as a
typical band. _The Speed of Cattle_, with material originally recorded
between July 1992 and February 1995, is a power-packed 18-track rarities
package that features the Archers in some of their noisier moments. People
used to the quirky pseudo-punk of "Web In Front" from _Icky Mettle_ or
"Underachievers March and Fight Song" from _Vee Vee_ will find a mildly
surprising ensemble; the Archers demonstrate that not only can they write a
slick pop song, but they can get down and dirty as well.
"South Carolina", "What Did You Expect?", and "Quinnbeast" show the Archers
in true guitar-rock form with a confusing groove in the background that
makes you want to move, even when you don't know why or where it might take
you. "Tatyana" ably demonstrates Eric Bachmann's atypically melodic gravel
of a voice and still keeps you on the edge of your seat. "Telepathic
Traffic" and "Mutes In The Steeple" go far to solidify the Archers as
songwriters extraordinare, some of the creme de la creme in the loosely
defined "indie-rock" scene nowadays.
And that's all from a rarities album, so what could be expected from the
Archers' next full-length? Expectations are raised a little bit as Alias
signed a distribution agreement with Elektra, sort of kind of making _All
The Nations Airports_ a major-label debut.
Disappointment was not to be had. A minute into the album the Archers have
you planted and "Strangled By the Stereo Wire". The guitars are less noisy
even during the more driving numbers, and the Archers spread themselves out
with a little more piano on tracks like "Scenic Pastures" and "Chumming the
Ocean", where the piano fuels the rest of the band. "Assassination on
X-mas Eve" gets you to listen oh so closer to figure out exactly what's
going on; you've almost been so caught up in the melody to forget that
Bachmann is singing anything. "Vocal Shrapnel" will set you straight with
one of the true guitar-pop gems of the year, and "Form and File" will put
over the top that lingering thought in your mind that you're listening to a
true classic.
With perhaps the most original slant on the post-punk-pop world, sacrificing
no melody for schtick, sacrificing no schtick for radio friendliness,
sacrificing no radio friendliness for some classic guitar lines, and
sacrificing no classic guitar lines for melody, the Archers of Loaf have
made a truly impressive statement about modern rock 'n' roll -- with _The
Speed of Cattle_ they've said "we're going to do whatever we want, and it's
still going to rock", and with _All The Nations Airports_, they come back
with "and not only are we still going to rock, we're going to do it our
way." Here's to the Archers' way being our way for a long, long time.
-- murmur
Tool, _Aenima_ (Zoo)
Tool's second full-length, _Aenima_, kicks your fucking ass, okay? Tool had
already progressed from their debut ep _opiate_ to their first full-length
_Undertow_, growing from pseudo-heavy metal to a gloomy, grinding, slimy
groove. The progression of Tool has not ceased, as one good listen to
_Aenima_ will demonstrate. Tool has taken a slightly industrial edge; not
implying that _Aenima_ is full of drum machines and sound effects, but
vocalist/lyricist Maynard James Keenan has been playing with buttons and
stumbled upon some vocal effects. This only adds to the general discomfort
the album spews. Not a single track will leave you still in your chair, as
_Aenima_ will have you squirming from the outset. Although bassist Paul
d'Amour has left the band due to "creative differences", replacement Justin
Chancelor (ex-Peach) holds his own wonderfully. Danny Carey pounds the drums
in the same strong, melodic hypnotic rhythms that made _Undertow_ raise the
hairs on the back of your neck. Adam Jones has recognizably improved his
guitar playing, and is grooving and crunching with more power than he ever
has before.
Keenan is still unusually obsessed with perversions of sex, murder, and pain;
all of which are lyrically illustrated, in one form or another, in almost
every song. There are, however, exceptions; he tackles sell-out accusations
in "Hooker With a Penis", his childhood in "Jimmy", and drugs in "Third Eye".
Also included is a recipe in German for the eggs of Satan in "Die Eier Von
Satan", and four shorter interludes interspersed throughout the album hold
the other eleven tracks together nicely.
The disc's packaging itself is interesting. The CD cover is holographic,
along with the images in the sleeve if held in front of the hologram.
eyeballs roll, stare, and jump; shapes contort; the band watches a naked
woman (yes, it's a woman) twist her body to, i think, stimulate oral sex on
herself. Maynard James Keenan and Danny Carey are also nude, which is worth
the price of the CD all by itself.
Also noteworthy is the band's tribute to the late Bill Hicks (12/16/61 -
02/26/94, death from pancreatic cancer), a controversial (and in my opinion,
brilliant) stand-up comedian in the beginning of "Third Eye", in which they
include portions of his acts on the topic of drugs. The CD sleeve also
includes a painting of Bill Hicks playing doctor with, apparently, a severely
injured Keenan. Unfortunately, this image is not holographic. So it goes.
You can invent laser-guided bombs but you can't make paintings holographic.
All in all, obviously, I love _Aenima_. It hasn't left my CD player since
September 30th (yeah, I got it a day early because I'm really cool, let me
tell you - I don't even work at a radio station, people just give me free
shit all the time because I'm the only sod in town who can get crystal meth -
I spend all my money on used, discounted porn and jamaican lovebeads - email
me your pets) and I don't plan on removing it any time soon. As cliched as
it may sound, _Aenima_ is an intense album not meant for the faint of heart
(but, if you are faint of heart, buy it and listen to it anyway because at
least you'll drop dead doing something constructive.) This isn't something
you'd go to sleep listening to.
As keenan howls in "hooker with a penis":
"shut up and buy, buy, buy my new record / buy, buy, buy / send more money"
If you send me your receipt, maybe I'll send you your pets back.
[ The official Tool web site can be found at http://toolshed.down.net ]
-- styx
New Radiant Storm King, _Hurricane Necklace_ (Grass)
Back in the spring of 1990, the first time I ever heard New Radiant Storm
King, I was blown away as the feedback reverberated through the tiny
Hampshire College venue.
Listening to their latest release, _Hurricane Necklace_, brought that
feeling rushing back again. Their music has matured greatly in the past six
years. _Hurricane Necklace_ displays a full range of styles and techniques
that Peyton Pinkerton (guitar) and Matt Hunter (guitar/bass) artfully
combine. "Embrys' Crossroads" country swoon bridges into surf rock, and
then back to the western tinge behind the words, "I am quite shocked, 'cause
you know I can't sleep, I am stupid, and lazy, and mortal, and weak. No you
don't know, you don't know." "C/Swoon" starts out with a woozy, airy
instrumental, then, ever so naturally, does a 180 and proceeds to tremble
with an angry rejection, "I've got ten good reasons and you're not one of
them."
While _Hurricane Necklace_ shows off Storm King's ability to ease in and
out of different moods within the same song, it never sounds choppy or
calculated. NRSK's trademark warbly, throbbing feedback glues the sound
together throughout. They even stretch that sound to new boundaries in "The
Kind Ghost," which features Pinkerton playing with a guitar slide you can
feel massaging your brain if you crank it up just right.
Besides the amazing musicianship, the lyrics are thought-provoking, and
sometimes just outright humorous, as in "Lovers in Waco" about "fucking in
an air-raid shelter...we brush our M-16s, we made a pact with god that we
would never retreat."
"The Bastard Song" mixes music and lyrics to embody the feeling of driving
home in the rain after getting screwed over, "when everything I fear seems
to reappear, and you're just getting smaller as I drive the fuck away."
_Hurricane Necklace_ marks some considerable changes for the band, most
notably the loss of their powerhouse drummer, Elizabeth Sharp, who has
moved on to Skinner Pilot. Their new drummer, Garrett Fontes, provides
another layer in the rich tapestry of Storm King's sound and never
overpowers the more "thought out" sound of this album. Storm King's
transfer to Grass Records will allow greater distribution of _Hurricane
Necklace_ than past albums, as well as the possible reissue of some of the
notoriously difficult to find earlier releases.
-- katey
Silver Jews, _The Natural Bridge_ (Drag City)
The first thing that usually gets thrown into a discussion about
Charlottesville, Virginia's Silver Jews (in essence David C. Berman)
is the Pavement connection. Well, forget it on this album. There are no
Pavement members to be found on this thing, and it actually makes for a
better record than their previous outing, _Starlite Walker_. The reason for
this improvement is cohesion. Berman's thick voice and rootsy songs work
much better with the arrangements he provides (and are capably delivered by)
to his "new studio band" on this album, which is comprised of two members of
Massachusetts heroes New Radiant Storm King. _Starlite Walker_ was not a
bad album, but the lack of fractured formlessness and stylistic wandering on
_The Natural Bridge_ makes it much more accessible and pleasant. While this
can also be construed as "safe" record-making, it's hard to argue with the
lilting piano on the album's opening track, "How To Rent A Room". This song
sets the mood for the rest of the album, and on this one much more so than
the Jews' previous efforts, Berman's voice is allowed to shine through and
his probing (and often cheeky) lyrics can be appreciated fully. His theme
of choice this time around seems to be the dissolution of relationships (not
entirely original, but he pulls it off admirably), and he has really been
practicing those allegorical allusions and southern gothic references to
give this album the feel of a heartfelt "dear john/jane" rather than an
outright dis, even with the line "I don't really want to die/ I only want to
die in your eyes," which is delivered wryly, not scornfully. In the
instrumental department, "The Right To Remain Silent" is just as hypnotic as
"Bar Scene From Star Wars" and rewards repeated listenings immensely. And
while the overall feel of this album never wanders much from an easy-
listening formula, it's a positively enchanting ride that leaves a warm
taste in your mouth and plenty of material to think about, even if some
of it refers to seeing B. B. King on General Hospital.
-- dominic devito
Din, _Fantastic Planet Revisited_ (Hypnotic)
Din is my favorite band of all time. There, I admitted my bias. Of course,
you've probably never heard of Din before, but that's okay. Din's songs are
most clearly defined as electronic trance soundtracks, and are created
entirely by Pupka Frey. Put simply, the songs written by Pupka are meant to
be the soundtracks for unwritten movies or stories. This is Din's second
album, their first being _Decade of the Brain_. This CD is meant to be
filled with space horror tracks, and I think it achieves that goal pretty
well. On this disc Pupka moves towards a harsher, more up-tempo feel. He
also experiments with some new instruments, such as the organ on "Clown
Suit". Pupka also sings, which is a first (without a vocoder). All this
gives this disc more of an EBM feel, but don't be expecting Front 242 or
Leaetherstrip. It's just Din's special version of trance: peppier, harder
hitting, with more varied elements to keep it from getting redundant. The
standout tracks include "Stab", for its eerie vocals, "Travesty", for being
a more evil version of Din, "I've Seen It Done", for being even more evil,
and "Clown Suit", for the single greatest organ solo in a song with the word
'clown' in the title. All the rest of the tracks are very good as well, and
I don't believe Din can make a bad song. But that's me. I wouldn't
recommend this disc to you if you don't like electronic music, or if you
dislike trance music specifically. I would recommend this disc to anyone
who doesn't fall into one of the above categories.
Gee, after rereading that I now feel compelled to point out that I don't
work for Din or BMG.
-- ogre de latoya
Kaia, _Kaia_ (Candy Ass/Chainsaw)
"Finally A Dyke Album For The Whole Family" reads the back cover of this
record, and it could not be closer to the truth. Kaia, the singer/
guitarist of the highly acclaimed riot grrl band Team Dresch, has
executed a great collection of acoustic emotion. Her beautiful voice and
guitar playing create wonderful songs of mistakes, break ups and
unforgotten love. Songs such as "16" and "Test" are perfect examples of
the end of relationships. Definitely recommended to the heart broken.
-- michael juliano
<113616@ef.gc.maricopa.edu>
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Tour Dates by BUCKET staff
--------------------------------------------------------- --------------------
As always, this information is subject to change, and BUCKET can't be held
liable for Liam Gallagher having a sore throat or for Mike Watt yielding a
sub-machine gun.
Tool (opening act unknown)
Thu Oct 24 Seattle, WA Univ Puget Sound - Fieldhouse
Fri Oct 25 Vancouver, BC PNE Forum
Sat Oct 26 Salem, OR Armory
Mon Oct 28 San Francisco, CA The Warfield
Fri Nov 01 Tempe, AZ Mesa Amphitheater
Sat Nov 02 Las Vegas, NV The Huntridge
Sun Nov 03 Salt Lake City, UT Salt Air Pavilion
Tue Nov 05 Denver, CO Mammoth Events Centre
Thu Nov 07 Dallas, TX Bronco Bowl
Fri Nov 08 Houston, TX International Ballroom
Sat Nov 09 New Orleans, LA State Theatre
Mon Nov 11 Kansas City, MO Memorial Hall
Tue Nov 12 St. Louis, MO American Theatre
Thu Nov 14 Chicago, IL Aragon Theatre
Fri Nov 15 Columbus, OH Newport Music Hall
Sat Nov 16 Cincinnati, OH The Garage
Mon Nov 18 Cleveland, OH Agora Theatre
Tue Nov 19 Detroit, MI State Theatre
Thu Nov 21 New York, NY Roseland
Fri Nov 22 New York, NY Roseland
Sat Nov 23 Philadelphia, PA Electric Factory
Tue Nov 26 Providence, RI Strand Theatre
Wed Nov 27 Fitchburg, MA Wallace Civic Center
Fri Nov 29 Montreal, PQ Metropolis
Sat Nov 30 Toronto, ON Warehouse
Sun Dec 01 Toronto, ON Warehouse
Tue Dec 03 Washington, DC TBA
Wed Dec 04 Charlotte, NC Grady Cole
Jon Spencer Blues Explosion (* with Railroad Jerk)
Thu Oct 31 Providence, RI Lupo's
Fri Nov 01 Montreal, PQ The Cabaret
Sat Nov 02 Toronto, ON The Phoenix
Sun Nov 03 Buffalo, NY The Marquee
Mon Nov 04 Cleveland, OH The Odeon
Tue Nov 05 Detroit, MI St. Andrew's Hall
Wed Nov 06 Cincinnati, OH Bogart's
* Fri Nov 08 Chicago, IL The Vic Theatre
* Sat Nov 09 Madison, WI Barrymore Theatre
* Sun Nov 10 Minneapolis, MN First Avenue
* Mon Nov 11 Lawrence, KS Liberty Hall
* Tue Nov 12 Denver, CO Ogden Theatre
* Wed Nov 13 Salt Lake City, UT DV8
Fri Nov 15 Seattle, WA Moore Theatre
Sat Nov 16 Vancouver, BC Vogue Theatre
Sun Nov 17 Portland, OR La Luna
Tue Nov 19 San Francisco, CA The Fillmore
Fri Nov 22 Los Angeles, CA The Palace
Sat Nov 23 San Diego, CA World Beat Center
Mon Nov 25 Tucson, AZ Club Congress
Tue Nov 26 Albuquerque, NM The Zone
Wed Nov 27 Oklahoma City, OK Diamond Ballroom
Fri Nov 29 Dallas, TX Trees
Sat Nov 30 Austin, TX Liberty Lunch
Sun Dec 01 Houston, TX Fitzgerald's
Mon Dec 02 New Orleans, LA Howlin' Wolf
Wed Dec 04 Memphis, TN New Daisy Theatre
Thu Dec 05 Nashville, TN 328 Performance Hall
Fri Dec 06 Atlanta, GA Roxy Theatre
Sat Dec 07 Athens, GA 40 Watt Club
Sun Dec 08 Charlotte, NC Tremont Music Hall
Tue Dec 10 Carrboro, NC Cat's Cradle
Wed Dec 11 Charlottesville, VA Trax
Thu Dec 12 Baltimore, MD Bohager's
Fri Dec 13 Philadelphia, PA T.L.A.
Sat Dec 14 New York, NY TBA
Sun Dec 15 New York, NY TBA
Railroad Jerk (* opening for Jon Spencer Blues Explosion, # with Come)
Tue Oct 29 New York, NY Mercury Lounge
Fri Nov 01 Cambridge, MA Middle East
Sat Nov 02 Philadelphia, PA Nick's
Sun Nov 03 Baltimore, MD Memory Lane
Mon Nov 04 Pittsburgh, PA Beehive
Tue Nov 05 Detroit, MI Shelter
Wed Nov 06 Cincinnati, OH Sudsy Malone's
Thu Nov 07 St. Louis, MO The Gargoyle
* Fri Nov 08 Chicago, IL The Vic Theatre
* Sat Nov 09 Madison, WI The Barrymore
* Sun Nov 10 Minneapolis, MN First Avenue
* Mon Nov 11 Lawrence, KS Liberty Hall
* Tue Nov 12 Denver, CO Ogden Theatre
* Wed Nov 13 Salt Lake City, UT DV8
# Fri Nov 15 Portland, OR Satyricon
# Sat Nov 16 Seattle, WA Crocodile Cafe
Sun Nov 17 Vancouver, BC Starfish Room
# Wed Nov 20 San Francisco, CA Bottom of the Hill
# Thu Nov 21 Los Angeles, CA Roxy Theatre
Fri Nov 22 San Diego, CA Casbah
Sat Nov 23 Tempe, AZ Nita's Hideaway
Sun Nov 24 Albuquerque, NM Dingo Bar
Mon Nov 25 Austin, TX Electric Lounge
Tue Nov 26 Houston, TX Fitzgerald's
Wed Nov 27 New Orleans, LA TBA
Fri Nov 29 Atlanta, GA The Point
Sat Nov 30 Carrboro, NC Cat's Cradle
Sun Dec 01 Washington, DC Black Cat
Fri Dec 06 Hoboken, NJ Maxwell's
--------------------------------------------------------- --------------------
From WESN 88.1 FM by murmur
--------------------------------------------------------- --------------------
WESN Top 10 for week ending October 14, 1996
TW LW 2W PK (This Week / Last Week / 2 Weeks Ago / Peak Position)
1 2 2 1 Cake Fashion Nugget (Capricorn/Mercury)
2 1 5 1 Tool Aenima (Zoo)
3 5 1 1 Archers of Loaf All The Nations Airports (Alias/Elektra)
4 15 - 4 New Radiant Storm King Hurricane Necklace (Grass)
5 8 - 5 Marilyn Manson Antichrist Superstar (Nothing/Interscope)
6 7 9 3 Cardigans First Band On The Moon (Mercury)
7 4 7 2 Pet Shop Boys Bilingual (Atlantic)
8 9 22 8 Luscious Jackson Fever In Fever Out (Grand Royal/Capitol)
9 13 - 9 Yo La Tengo Genius + Love = Yo La Tengo (Matador)
10 3 3 3 Social Distortion White Light White Heat White Trash (550)
More WESN information, including station stats and general information, and
an archive of all previously reported top 30s, can be found at the WESN web
page. Go to http://www.iwu.edu/~wesn and see for yourself.
--------------------------------------------------------- --------------------
In the next issue of BUCKET by murmur
--------------------------------------------------------- --------------------
The centerpiece of BUCKET #03 will be an interview with Cake conducted after
their October 3 show at Mabel's in Champaign. An interview with NIL8 after
their October 4 show at Bone Student Center in Normal will be present, as
well as reviews of the latest and greatest releases.
As always, if there's something you'd like to see in BUCKET, suggest it, or,
well, write it yourself! Direct all submissions to phuckelb@sun.iwu.edu or
you might not have your submissions get much of anywhere.
BUCKET #04 will feature an interview with Let's Go Bowling conducted prior
to their October 11 show at the Metro in Chicago.
--------------------------------------------------------- --------------------
BUCKET issue #02
BUCKET is a dto production. October 24, 1996
--------------------------------------------------------- --------------------
Editors: murmur (phuckelb@sun.iwu.edu) and eerie (doomed@voicenet.com)
All contents (c) 1996 dto productions and cannot be reprinted without prior
written consent by their authors. BUCKET is a trademark of dto productions.
Visit the dto www homepage at http://www.voicenet.com/~doomed
Please direct all comments, suggestions, submissions, etc. to the editors.
Issues of BUCKET are readily available; direct requests to the editors.
Join the dto/BUCKET mailing list! email doomed@voicenet.com for more info.
BUCKET ftp site! ftp.lemming.com /pub/zines/bucket will do it for you.
Got a release of your own and want some free press? Send it to us! We're
BUCKET, P.O. Box 443, Normal, IL 61761, and we guarantee that anything we get
will be reviewed with limited information as to how to contact you. This goes
for anyone, from Joe in his garage in Denver to David Geffen himself.
--------------------------------------------------------- --------------------
