®f?p Sailg ©ar Hrrl Bardo Pond’s Album Hypnotic, Essential Rockers, let’s chat about an album which will push you that much closer to tossing out your lame this is not a Fugazi t-shirt t shirt and honing that hashish habit. If I ever said that I’d given Philadelphia more than a passing nod aside from cheese steaks and Zipperhead, color me a fibber. However, I’m sure that singer-songwriter Bob Dylan (aka Robert Zimmerman) had this very situation in mind when he penned hisl964Top2o hit, “The Times They Are a- Changin’,” be cause indeed, they are a -and Bardo Pond is | BARRY SUMMERUN] Music Review Barlo Pond High Frequencies (Matador Records) A+ such the catalyst. Never has the Pa. license plate prophesy been more true than in this instance, for you do, in fact, have a friend in Pennsylvania, and it is High Frequencies, the third lull-length from this cheeba-rock quintet coming from the city of brotherly love. If you're a smart one, you caught the first and/or second album and you’re fa miliar with the pond of bardo, a sucking whirlpool of swirling drone. However, if you’re a bit...shall we say, “special,” then try this experiment/head game: go into any south campus rest room and hum, starting with a low pitch, and then slowly and “col glissando” increase the pitch up wards until you hear the sinks rumble with you and echo about the room. Try next to match the natural frequency of the toilet bowl, and then perhaps the urinal. Not only was that entertaining in itself, but you’ve also gleaned the basic gist of the Bardo Pond’s first two albums’ maj esty. Now, forget all that, because the third album marks anew direction sans the white noise of albums past. Imagine this, you: suppose I was to put the Cowboy Junkies’ Trinity Sessions on the turntable, and then what ifl ran that through some heavy digital delay and light distor tion, and did I forget to mention that I was listening to the result in that mysterious echoing stair step cove outside the design studio at NCSU? Envision all that, or you could dig this new Bardo Pond album because that’s ex actly where it’s at. Put me in a hammock with an ice cold pitcher of Luzianne and a newspaper over my eyes in mid-May lis tening to either of the aforementioned hyp notic set-ups and look! You’ve made a white boy with a toothy smile. And you too can be that happy white boy. JUMANJI fP6)~ ’BRAVEHEART(R) WHITE SQUALL (FS-131 IBEP OF BOSES IPO ‘ * w wmmmmmmmi mm ■ ! m IKhMinSL. j v &Jh K . j Carmichael auditorium I APRIL 14-7:30 PM j 1 STUDENT DISCOUNT TICKETS ON SALE ONLY AT THE CAROLINA UNION 1 (CHARGE BY PHONE 919-814-4000 1 [ PRESENTED BY CELLAR DOOR/CAROLINA UNION ACTIVITIES BOARD M You know, I couldn’t begin to explain to you why the hammock is essential be cause I’m not a leisure critic perse, and I’m not really know if the tea has to be Luzianne or not, or heck, even if it has to be iced for that matter. But you give me the rocks, and I’ll chisel out track by track why this Bardo Pond CD is what’s down, cold-kicking it Moses style. Here’s some highlights plus the defi nitions of words in the song titles which I didn't know (definitions paraphrased from 1974 edition of Webster’s New Collegiate Dictionary). From the get-go, like three minutes of sonic monotony drones before the massive power-chord dirge-riffage of “Limerick” even kicks in, oh hell yes. “Tantric (per taining to the later Hindu scriptures usu ally dealing with the worship of Shakti) Porno” dreamily waits until whupping up on you with lumbering distorted exclama tion points. Bardo Pond pulls out the psy chedelic album’s proverbial sitar for one song, adding further spice to the churning dish that is “Wank.” “The High Fre quency” reminds this one of early seven ties rockers Jade Warrior, what with vocal ist Isobel picking up her flute for one of the relatively few times on the album, what with its prominence on the earlier two records. “Sometimes Words” is one of three songs highly derivative (and delightfully so, at that) of the Cowboy Junkies' lazy formula. “ Yellow Turbin (Latin for whirl wind)" lives up to its name, dancingaround in heavy circles inching towards incarnate chaos. “Tapir [a nocturnal ungulate related to the horse and rhinoceros] Song” clumsily lopes along, pretty truthfiil to the image I derive from the definition. High Frequencies closes with my favorite piece, something called “RM,” which might stand for “Ripped-off Movements," since the song seems practically based on the'Crystallized Movements’ song“ThisDimmingToday.” Both are fine works, might I add. So rocker, what’s it gonna be? Another year of punk rock moshpits and crowd surfing assholes or will you turn on to churning electric cathedral music? Buy this record, fool, you deserve better. OSGM/BEST SCORE *■*— ****** *** LUIS ENRIQUE BACALOV th* POSTMAN MWmhbF™ - - TMtowboas! AWowanuiMaßOoTssnOfAMow!” 2.4„.7 W. B ThumsUp!Cxothm Vfil OSCAKI BEST ACTRESS And Wuour Ornhul!” SUSAN SARANDON SUSAN SCAN BBB2BS SARANDON PENN "A Wicked, Ihlhl A FILM BY TIM ROBBINS S FAKI! nalM 2-4:30-7-9|3o[g gf] TOMO - DIVERSIONS Music Second Sandler Comedy CD Not for Children’s Ears In recent years there has been a mass exodus that has left “Saturday Night Live” awash in a sea of new cast members. Phil Hartman, Kevin Nealon, Chris Farley and Janeane Garofalo are just a few of those who bailed for various reasons, seeking film careers and/or a change of pace. Of those who fled, Adam Sandler is arguably faring best, second only to Hartman. Fresh from his second starring role in a feature film and a sold-out college and small venue tour this winter, Sandler serves a follow-up to They’re All Gonna Laugh At You! with his second full-length comedy album, What The Hell Happened To Me? At his best, Sandler can of fer such silly, earnest-boy comedy that he BRENT SIMON Comedy Album Review Adam Sandler What the Hell Happened to Me? B actually comes off as one of our own ren egade family members, an emotionally unstable cousin, perhaps. But if you’re familiar with him only through “SNL” and his two juvenile film releases, you’re missing quite another side of Mr. Sandler, as his two comedy albums have both been exercises in sheer vulgar ity. Not that there’s necessarily anything wrong with that. The album opens with one of its stron gest tracks, “Joining The Cult,” a hilarious bit in which Sandler attempts to recruit a friend into a sun-fearing religious cult, us ing the logic that since he sacrificed by watching the friend’s TV program instead of Monday Night Football, the friend should repay the favor. The first half of What The He 11...? works quite well, with “The Goat” offering eight minutes of ran dom, oft-vulgar free association comedy between several friends and a talking goat. “The Hypnotist” travels familiar ground with its focus on flatulence, though Kevin Nealon’s straightman bit actually draws a few laughs. The album reaches its kooky apex half waythroughwith“DoltForYourMama,” in which Sandler plays a mother exhorting her children to engage in a little autoeroti rism. Strange, very strange. In addition to the comedy segments, there are seven of Sandler’s typically wacky little ditties. While the majority of the musical pieces are more slickly produced than the offerings of They’re All Gonna Laugh At You!, the songs as a whole are generally a cut below Sandler’s previous efforts. “The Chanukah Song” (previously featured on“SNL”), and thereggae-themed “Ode To My Car” stand out as the best efforts. The oddly assaulting “Steve Polychronopolous” mainly seems like an excuse to randomly curse, while Sandler’s nonsensical ode to grandmothers, “Dip Doodle,” slips into borderline irritation and proves that substituting gibberish in the place of lyrics only works so many times. Despite the NC-17 language on his two comedy albums, Sandler has strong family ties that run throughout his work, popping up in not only his songs, but also his films. While “Billy Madison” and “Happy Gilmore” both streamlined Sandler’s hu mor by reigning in and restricting his lan guage, they also helped provide some genu inely funny moments. One is often forced to think more creatively when there is some sort of limit to the cursing that can take place—witness Sandler’s verbal back hand of Bob Barker (“The price is wrong, bitch!”) in “Happy Gilmore.” On What The He 11... ? Sandler seems out to gamer a personal reprimand from Bob Dole. While the album lags a bit behind the pace of his debut effort, What The Hell Happened To Me? ultimately provides a fair number of laughs. Sandler’s so-odd-you-have-to-laugh Eat here downtown OP WB’II next to hl " "PuppED'C DELIVER varsity I tLII t-lxD 969-7265 pizza carrboro ' easy access carry-out I ‘TWO THUMBS UP!” One of the most important films JsSfek ever ma de about the HHK African American experience.” ~ MICHAEL MEDVED, SneoJt Pwieu’s PBS TV. New York Post * - y' i W Al Freeman, Jr. Phylicia Rashad Leon JLjg? itfTteS'Afe- Once Upon a Time... * •# lb When We & Were Colored rSSuc |/I|Pth fpcl wrxtvLmv.MxyEzmwmmm ionmm wwb i wki ci* mutiimimwii*• ncrvnts. MWitir(llUMlK*B>aSaWßSWllKlinilAWKcl SPONSORED BY Alpha Phi Alpha iM Fraternity, Inc. WITH ADDITIONAL SUPPORT FROM Carolina Union Activities Board I' j|| and humor and over-the-top energy save sev eral of the weaker bits. The bottom line, of course, is that if you blush easily at the mention of goat genitals or masturbation, this album’s not quite in your age bracket. ■HP m n# FREAK 6 After Pfcrty SfcturJ&y, April 13 ■y' AuJitonW Kr UNC-CUpel Hill h% sUv shots Lt 7 pin AFTER PARTY folUmy tU sUv In CltncUel (colly ID Kfflrd, Jkttetors will U i*mJ) Thursday, April 11,1996 . A THU LINE BETWEEN LOVE & HATE K L Dhr 1:00, 3:20. 7:OB. 9:30 SGT. BILKO m t- D 1 =■ 5=26, 7=M. =2 4 ALL DOGS GO TO HEAVEN 2 (; PNy 1:10, ;10. B:10. 7:IN j FAITHFUL R] PcNy lill. lilN Bill. 7:15. Nilß u EXECUTI VE DECISION M k P—f Pally IKW. 3:45, 7:00,9:40 THE BIRD CAGE [R! CIS > Pally 1:08,3:30,7:08,9:30 . A FAMILY THING iPG^gT . Daily 1:15.3:35. 7;15,9:35 . OLIVER & COMPANY m . Patty 1:10,3:10, 5:10,7:25 . HOMEWARD BOUND II [G] t Drily 1:20.3:20, 5:20, 7:20 . MR. HOLLAND'S OPUS El . Dally 1:Q, 3:40, 7:10,9:45 UP CLOSE & PERSONAL Efrßl . nightly 9:10 GIRL B |R] 9