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WIDESPREAD PANIC CONCERT HlM l I l\ IV IVI/II1 I 11M
THURSDAY OCTOBER 3; FRIDAY OCTOBER A
S • BOARDSPORTS PffiSENTS 3 HOT SNOWBOARDING FILM
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WEDNESDAY OCTOBER 91 THURSDAY OCTOBER 1(
C-LOVE RND SPECIAL 5RUCE frocTbrxcaSi
TUESDAY OCTOBER 15 TUESDAY OCTOBER 23
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FRIDAY OCTOBER 18 SATURDAY OCTOBER 1?
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Hal Holbrookin
Mark 'Min Tonight!
HULT CENTER •% OCTOBER 19
Tickets at the Hult Center box office, www.hultcenter.com,
or charge by phone at 682-5000.
Groups of 20 or more please call 744-1962.
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January 31, February % 2,6,7 &
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PO Box 3600
Eugene, OR 97403
By Phone: 541-346-4363
By Fax: 541-346-6071
for infomiaHoniUf Development Office: 541-346-4190
The Misanthropy
by Moliei
April 11, 12,17,18, 19, 20, 25 & 2
is Ship of Fool:
A New Folly Devised by Students and Facul
Folly Devised by Students and Facul
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Authority Zero releases
catchy ‘suburban McPunk’
Ken Paulman
Freelance Reporter
“A Passage in Time,”
Authority Zero,
Lava Records
Authority Zeros press release says
it all: “If you ever eat cereal for dinner,
like to break stuff, or use the word ex
treme to describe any of your hobbies,
this band is for you!” In other words,
those of you who are not Mountain
Dew-guzzling teenagers may want to
pass on this one.
In general, there’s nothing on “A
Passage in Time” that you haven’t al
ready heard before. Most tracks
sound like either Green Day playing
Metallica or Metallica playing Green
Day, the others sound like 311 play
ing Sublime or vice-versa. Like all
too many punk bands nowadays,
Authority Zero play their power
chords quickly and adeptly, but lack
the expressiveness and social com
mentary of those that defined the
genre, and it all comes across as gra
tuitous homage to groups like Bad
Religion and Minor Threat.
But what Authority Zero lack in
originality, they make up for with en
ergy and ambition, and as far as sub
urban McPunk goes, you can cer
tainly do much worse. The Mesa,
Ariz. band started back in 1994, and
eight years of relentless practice and
performing have gone into this, their
first full-length album. Cliche ridden
as it is, “A Passage in Time” is a solid
piece of work, and should be a big hit
with the all-ages crowd.
More importantly, Authority Zero
haye managed to parlay this cookie
cutter sound into a considerable fol
lowing in Phoenix, which means they
must put on one heck of a live show.
“Knock Knock Knock”
(EP),
Hot Hot Heat,
Sub Pop Records
Hot Hot Heat are sick of being
.. .
compared to The Cure, which is a
good thing. It would be unfortunate
for this band to get sucked into the
void of ’80s New Wave nostalgia that
should be inundating us any minute
now.
’’Knock Knock Knock” showcases
a band struggling to define its sound.
Mot Hot Heat started out playing dis
sonant noise rock on synthesizers
and have recently undergone a tran
sition into a more melodic, palatable
sound. There is a thread of continu
ity to be found, a singular unique
ness that doesn’t need to be propped
up by U2-inspired drum riffs or
Robert Smith-like vocal contortions
from singer Steve Bays.
“Touch You Touch You,” a richly
complex tapestry of melody and
emotion accented with mercifully
restrained synthesizer trickery, is
perhaps the most promising exhibi
tion of what’s (hopefully) to come.
Hot Hot 1 leat’s forthcoming album
“Make up the Breakdown” (sched
uled for release Tuesdsay) will be the
test of whether the band succumbs
to the pop culture trendiness that
brought us flash-in-the-pan hipsters
like Make Up and The Strokes, or
continues to define their own unique
sound. I, for one, will be rooting for
the latter.
“Multi Kontra Culti vs.
Irony,”
Gogol Bordello,
Rubric Records
I still struggle to come up with the
words to describe Gogol Bordello.
Perhaps it’s best to use founder and
frontman Eugene Hiitz’s term,
“Ukrainian Gypsy Punk Cabaret,”
and leave it at that. Or, as Ben Sis
ario of the New York Times wrote:
“Iggy Pop meets Kafka.”
Hiitz’s songwriting combines sur
realism, Ukrainian folklore and his
own experiences as an immigrant.
The tales are told with intensity and
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dark humor, but also with the
earnestness and boyish charm of
Yakov Smirnoff on a bender.
A migration from his hometown of
Kiev through refugee camps in
Poland, Hungary, Austria and Italy
introduced Htitz to Gypsy folk mu
sic, which he has synthesized with
punk rock to create Gogol Bordello’s
unique sound. Imagine the sound
track to a Soviet Muppet show com
posed by Joe Strummer.
The band’s primary instruments
are guitar, accordion, violin, saxo
phone and drums, and live shows
are sometimes augmented by a brass
section, dancers and circus perform
ers, resulting in something more
reminiscent of performance art than
a rock show. According to the New
York Daily News, Gogol Bordello has
developed a reputation for leaving
behind a trail of smashed tables and
broken glass in its wake.
With that in mind, it seems futile
to attempt to distill Gogol Bordello’s
theatrical frenzy into a recording
that only speaks to one sense, but
“Multi Kontra Culti vs. Irony” does
the job as well as one can expect.
The music is vibrant, vulgar and rich
with color, driven by a relentless
klezmer beat.
Hiitz’s rantings drift from English
to Russian and back again before
culminating in a foot-stomping, pint
hoisting chorus. As unpredictable as
they are unique, Gogol Bordello de
scend from the wailing sadness of a
Gypsy violin into vaudeville silliness
in the blink of an eye.
’’Multi Kontra Gulti vs. Irony” is
an album that truly defies catego
rization, a vanguard recording in a
genre that has yet to be defined. And
if you want to check out Gogol Bor
dello in person, they will be playing
at Dante’s in Portland Sunday.
Ken Paulman is a freelance writer. His
opinions do not necessarily represent
those of the Emerald.
For the week of Friday, October 4thI
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“A sweet, even delectable diversion.”
-Ann Hom&day, WASHINGTON POST
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Afineiy written, superbly acted offbeat thriller.’
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