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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