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About Oregon daily emerald. (Eugene, Or.) 1920-2012 | View Entire Issue (Oct. 16, 2003)
Helen Schumacher Notes from the underground Moving prompts memory revival 1 moved for the fifth and hopefully final time of my Eugene stay this past weekend. I hate moving. It's time consuming and expensive. It starts with the task of finding a new place. Then there's the packing and the transportation of belongings, and then the cleaning and unpacking. During my sophomore and junior years I was lucky enough to have roommates that were on top of the whole process, making sure we didn't end up on the street. But last August, sick of always wash ing my dishes, the two wonderful ladies I had been living with since the residence halls each moved into sep arate places, leaving me to wash my own dishes. Not wanting to go through the effort, I settled for the first apartment within my price range without orange-brown carpeting. I told myself the apartment was "punk rock." This was really just a way of be ing optimistic about the fart it was a total dump. It would only be a couple of weeks before the rotting wood, the stale cigarette smell that emanated from the walls and the kitchen so small I couldn't even open the stove door all the way would get to me. Turn to NOTES, page 11 Eric Layton Illustrator David Byrne releases 'Lead Us Not Into Temptation,’ an instrumental-laden album. Byrne still rockin' David Byrne’s new album proves that the musician is still open to new style, influence and innovation By Aaron Shakra Pulse Editor David Byrne last worked with Bri an Eno on 1981's "My Life In The Bush of Ghosts." But dearly Eno has continued to influence Byrne long af ter their collaborative phase together. His latest recording, "Lead Us Not Into Temptation," immediately re calls Eno's vast ambient music, as well as the minimalism of composer Philip Glass, with whom Byrne has also worked. REVIEW lease, Byrne Cage-ian techniques of "indetermi nacy" during its recording. "1 handed out bits of paper for spe cific scenes and said, 'I lere are the notes you can play on this scene — you can play them whenever you Turn to TEMPTATION, page 11 Reflecting CD on the al bum in a press re described using John Perverts produce punk album 'Porn On The Cobb’ sticks with fast tempos to create radio-ready accessible punk By Aaron Shakra Pulse Editor I'll start this review with an admis sion: I don't know a thing about punk. So if this all sounds out landish, forgive me. The only punk album 1 own is NOFX's "Punk in Drublic," and I've heard some of The Clash, but that's about it. So don't confuse my comments for a lambast ing of the entire punk genre, because it's entirely possible that I just haven't heard enough. Or, I just don't get it. The subject of dissection today is "Porn On The Cobb," The Perverts' second album and first full-length recording. In celebration of its re lease, the three-piece band plays this Friday at John Henry's, located at 77 W. Broadway. For me, listening to "Pom On The REVIEW evolved? Or _ has it al sounded like this? I say this because here we have an album that sounds like it could have been made a 100 times before — the fast tempo, the predictable chord changes, the mish mash instrumentation and all. Of course, most of the record's 14 tracks clock in around the one to two CD Cobb" rais es a ques tion: Has punk ever ways .■■■— r TEt ----_J Courtesy ‘Porn On The Cobb,' a collection of 14 punk tracks, is The Perverts’ second album. minute range. This stuff is friendly ra dio-ready accessible punk rock. But does all this necessarily make "Porn On The Cobb" a bad album? No — just an intentional one, very much within the punk canon, I'm as suming. But still not without merit. Lead singer Rob Jacobs' song lyrics are perhaps what give this album its strength. Jacobs knows how to write lyrics around a hook, and with such short songs, this method works best. I also like the vocal backups and harmonization between the band members. Usually, the lyrical high lights match the musical ones. A few of the stand-outs include "Give It Up" and "Chameleon." Unfortunately, production values haven't increased much from the last Perverts release. "Porn On The Cobb" doesn't sound like a scratchy vinyl and need not sound like a pol ished Radiohead recording, but it definitely could have benefited from a mix that gave some precedence to bassist Nate Sampson. The only time he's heard clearly is when he's the only one playing. Otherwise, it's all electric guitar and drums on the fore front of the sound. Tickets for the John 1 Ienry's show — which includes The Hellenbacks, The Go-Downs, Ihe Fireballs of Freedom and The Courtesy Clerks — are $4. Ihe Perverts will be the first band to hit the stage. Showtime begins at 10 p.m. Contact the Pulse editor at aaronshakra@dailyemerald.com. 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