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Opening Tuesday October 9, 2001
Page 4
THE BATTALION
Tuesday, October 9,
v lUME
ONTROL
Betty Blowtorch
Are you man enough?
Food Chain Records
Rock from the 1980s is
dead, and somebody forgot
to tell Betty Blowtorch.
Religious Tolerance Panel
Tuesday, Oct 9th, 7:00 - 8:15pm MSC 226.
Participants include: Terry Dougherty, Minister:; Barbara Finlay, Director of Women’s Studies; Rev.
Dr. Jo Hudson, Pastor; Nick Stransky, Graduate Student
Speak Out Against Hate
Special Events
Free Speech Area
Wednesday, Oct 10th 11:00am—2:00pm
Come promote tolerance and inclusiveness on the TAMU campus & the Brazos Valley by speaking
out about hate crimes, hate speech, sexism, racism, and religious intolerance
Sponsored by Women's Studies Program, Women's Center, Gender Issues Education Services, Race and Ethnic Studies
Institute, Colleges of Liberal Arts and Education, Just Peace Institute, NAACP, Friends Congregational Church, St. Tho
mas Episcopal Church, Center for Humanities Research, PFLAG, & ALLIES. For more info call 845-7994
Coming Out Week October 7-14
Loaded with hard-line pro-female songs and plenty
of screaming to fill in those annoying pauses
between halfway decent chunks of real music,
Betty Blowtorch’s Are You Man Enough? is a good
reminder to children of the 1980s why such music
died long ago.
The album starts off well with “Hell on Wheels,”
but quickly crashes to rock bottom with “Size
Queen," a song which, in all honesty, should have
an explicit-lyrics warning. While by no means
unafraid to tackle hard issues, such as an ugly
girl’s elementary school love in “I’m Ugly and I
Don’t Know Why," Betty Blowtorch makes huge
leaps from the overly angst ridde to the painfully
trivial. The band sounds great when not screaming
incoherently, but for the most part seems to be
straining to imitate what they feel is the greatness
of the bands of old.
If Betty Blowtorch were to cut the ranting and
wailing, they might be a band worth listening to.
Until then, it’s not even worth the price of a cheap
CD. (Grade: D-)
— Jennifer Cross
This Rhon
Rustic Overtones
Viva Nueva
Tommy Boy Music
This is the sound of a
band that one would
expect never to make it
out of the college circuit,
yet Rustic Overtones
found on "Revolution AM” and is completely irrel
evant and nonsensical.
“Hardest Way Possible" carries nothing
redeemable, unless the listener values repetition.
“Crash," however, possesses an island beat that
is fun and groovy, but is wrecked by the poor
vocals of Dave Gutter.
Track six, "Smoke," is very brooding and dark.
While this track has croaky vocals, Funkmaster
Flex's presence is cool, although it cannot save the
song from being anything cheap or inferior. The
brass at the end reminds one of something dying.
In “Baby Blue," Gutter's voice sounds like his
nose is stuffed with cotton: it has the feel of a work
of Elvis Costello. “Sector Z" comes next, and for
the moments David Bowie's voice rings out inquir
ing, “Is your volume up? Is the power on?” listen
ers think they have hit a decent track - until
Gutter’s voice resurfaces, killing all hope. Also,
there might be a phone ringing in the background.
Track 10, "Combustible," starts playing and
one’s only wish is that the sound would end.
Then something happens, something unex
pected, like an epiphany: the next song,
“Valentine’s Day Massacre.” This is the bar-none
best track of the album. It is smooth and flowing
in a seductive. Sublime-like fashion. Imogen
Heap's voice flows from background to lead in a
way that relaxes ears that have been tortured
during the 10 previous tracks.
There are five tracks left, but listeners may not
be able to stomach them. (Grade: F)
— Kevin Bums
P.O.D.
Satellite
Atiantic Records
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were signed by Tommy Boy Records. In this
sense they are very homey. The Tommy Boy
Website claims, “The swelling waves of sound
they make are always smart and satisfying ...
[what] great bands are made of." But this is
clearly marketing propaganda.
The music is bearable at times, but for the
most part is too brassy and flashy, and the
vocals are the worm eating this apple from the
inside.
The lyrics are unimaginative and petty. Listeners
hear on the first track, “C’mon,” “If I try I’m
halfway to triumph ... When I sigh I’m halfway to
silence.” By this point listeners may already be
regretting a pointless purchase.
The third track, “Love Underground,” says,
“Love is underground and doesn't make a sound."
The meaninglis indecipherable. “I’m relaxed in
karma and you’re losing breath. When I take four
steps you take two and you’re half to death," is
Combining hard rock with
pop and R&B might be a diffi
cult thing to do, but P.O.D. (Payable on Death)
pulls it off nicely. Their new CD, Satellite, varies
wildly from song to song. One might imagine each
song is sung by a different band.
The CD starts off with “Set It Off” and “Alive,"
two songs that make you want to get up and
dance. "Boom” interrupts the smooth style ofthe
CD with a hard rap edge, but "Youth ofthe Nation'
more than makes up for it. There are a few songs
on this CD that are so short they may not be®,
sidered songs. P.O.D. should have spent more
time on these songs to give them some length
rather than rushing them out for the CD release.
Overall, P.O.D. has enough variety to avoid being
boring, but enough similarity to have a style of its
own. (Grade: A-)
— Jennifer Cross
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