"we're all lookin' for a life worth leadin'; that's why we cry ourselves to sleep.." -- uncle tupelo ________ ___ _________ ___ _________ kts!a333 ____ _)________ | )____| ____ _)________ | _)____| ____ _)________ ___ |__| ___ | | ___ | | __ |__| ___ |__| ___ _)_| ___)| | | || | |___)| ___)| _______|| ______ ___ |_| | | || | _____| ___ |_| | _____| | ___ | |_ || | | || | | ___ | |_ || | | ___ | | | _|_ || | _|_ || | _|_ || | _|_ || | _|_ || | _|_ || | | |_| || | | |_| || | | |_| || | | |_| || | | |_| || | | |__| || |__| || |__| || |_ | ___ |__| || |__| __________||____________||____________||____| |_____||____________||__________ BUCKET issue #02 BUCKET is a dto production. October 24, 1996 --------------------------------------------------------- -------------------- From BUCKET To You by murmur --------------------------------------------------------- -------------------- With eerie in Quebec for three weeks, pretty much the whole issue was put together by me. With him back and around for next issue we can look forward to his R.E.M. review and a whole lot more. In the meantime, I hope you're satiated by skinhorse's interview with Hum's Matt Talbot and six more album reviews. Initial response has been very positive, and we hope that we can improve and release a quality music e'zine much into the future. I won't ramble. Go for the substance. --------------------------------------------------------- -------------------- The BUCKET Gob o' Contents by BUCKET staff --------------------------------------------------------- -------------------- From BUCKET To You by murmur The BUCKET Gob o' Contents by BUCKET staff Interview: Matt Talbot of Hum by skinhorse Spins: Archers of Loaf, Tool, New Radiant Storm King, by BUCKET writers Silver Jews, Din, Kaia Tour Dates by BUCKET staff From WESN 88.1 FM by murmur In the next issue of BUCKET by murmur --------------------------------------------------------- -------------------- Interview: Matt Talbot of Hum by skinhorse --------------------------------------------------------- -------------------- [ Editor's note: This interview was originally done for the Illinois Wesleyan _Argus_ as part of the feature article on Far Left Carnival III, which took place on September 7 on the Illinois Wesleyan University quad, featuring Hum, NIL8, Roots Rock Society, Free Range Chicken, and Busker Soundcheck. Space constraints forced 1,300 words to be chopped from the text in the _Argus_, and dear skinhorse has happily consented for the entire text of the interview to be reproduced here in BUCKET. This text, also available at the WESN web site (http://www.iwu.edu/~wesn), has been left as skinhorse initially had it, including references to what would have been at that time the impending Far Left Carnival III. This in mind, here is the text of skinhorse's phone interview, with introduction (minus those points just mentioned). ] ... Anyone who has run into a member of Hum at some point in time (and if you ever go to bars in Champaign, you're sure to run into one of them) knows that they are local celebrities with incredible humility and modesty about their astounding music and success. They can be almost self-deprecating; upon meeting Bryan St. Pere, my friend and I informed him that he was one of the most incredible drummers we've ever heard (truth), to which he responded, "Well, then you sure haven't heard many drummers." Special thanks to Matt for agreeing to do an interview with a radio station that he knew next to nothing about, and for offering to help us with promotion beyond the call of duty of any band that has achieved such great things. q: To make you reiterate something you've probably told a million interviewers before, can you tell me a little bit about the band's history? a: I started the band with some guys when I was in college in '89, no big aspirations or anything. We played a lot a shows around town and got lucky in that we found people to put out our music, even at a point where I didn't think we were all that good. Eventually we wanted to play a few shows out of town, so we booked some shows ourselves... I don't know, it's been a very slow and gradual thing to the point we're at now. I don't think we were ever seeking to be on a major label or anything like that, but when the opportunity came our way two years ago, it seemed like a good way to get more time to make more music and to get it out to people. It seemed like a logical step for us. q: And of course by that point you had already put some albums out... a: Yeah, one in '91 [_Fillet Show_ on Headhunter/Cargo] and again in '93 [_Electra 2000_ on Headhunter/Cargo], a couple singles in there, and then there was the astronaut record last year [_You'd Prefer an Astronaut_ on rca]. But we're pretty slow; I mean, for being together seven years I wish we had more music out, but we're not very fast songwriters. q: Since you didn't aspire to be on a major label, how did that happen? a: I don't want to make it sound like something we were totally against, like we were a big indie band; we just got lucky.... The story goes that this guy from RCA was in Chicago. He went to some small record store and asked for new local stuff, and they had our _Electra 2000_ record in, so they gave him that along with five or six other Illinois bands. The guy listened to our cd on the airplane ride home, and liked it, and called us to ask us if he could come see us play. He came to see us play at the Lounge Ax [in Chicago], and then he said we could be on RCA if we wanted to be. We said, "ok, we'll think about it," and about eight months later, we decided to do it. We just waited until we had a chance to talk to some other labels and educate ourselves on what we were getting ourselves into... q: Speaking of recording for RCA, I heard a while back that the band is going to start recording soon. a: Yeah, we're getting to ready to record again in October. q: Can you give us an idea of what you plan to accomplish with the next record? a: We're still writing some songs, and I can't say for sure exactly what the record's going to sound like. We're going to do it again with Keith [Cleversley, producer of _You'd Prefer an Astronaut_] at his studio. We felt like we had a good experience there, and by the end of it Keith really liked our music and said he'd love to do another record with us. He'd never heard our music, seen us live, or even heard of us when we went in there to do the album. It's been a long time since we did that record -- two years, anyway -- and we feel like we've gotten better, and he's called us and he thinks he's gotten better at his job too. We feel like we can go in there and make a record that's not a carbon copy of the last one; we've got lots of different kinds of songs now. We thought it'd be neat to work with the same guy two times in a row, so we can go in there the first day, start making music and not have to worry about things like where everybody's coming from, or egos, stuff like that. It should be fun. We're trying to go into it as relaxed as we can. We've got ten or so songs written, and hopefully we should have some more by the time we get there. q: Are we going to get a preview of the new songs at Far Left Carnival? a: Yeah. We've been playing ten or twelve songs in each set lately -- five or so from _Astronaut_, a couple from _Electra 2000_, and then three or four new ones. We just wrote another one that we're enjoying playing, so sometimes we're playing that too.... We understand that most people would rather hear songs that we know, and I would too, you know, but we gotta make sure we play the new songs and see how they sound. q: Speak for yourself; I'd rather hear new tunes too. a: Yeah, I'm kinda that way. I think it depends on what kind of music fan you are and how you feel about the band. q: If you could burn down a fraternity house, which one would it be and why? a: [laughs] Uh, I just don't have it in me to commit arson. I just don't think i could do it. I, uh, I get along fine with the members of our fraternal community. I got no complaints. q: You guys have accomplished a lot that most so-called national acts haven't been able to accomplish. You've got a cult following as well as a continually growing new fan base, and yet you manage to continue satisfying the old fans. You've had a massive hit single and a couple other big ones... what's the next step from here as you see it? a: I don't know, world domination, selling out, spandex, Pepsi commercials. [laughs] No, I just hope that we can keep going on the same track that we're on, maybe reach a larger audience. I'm finally getting comfortable with playing in front of a lot people; before, it kind of freaked me out, and now, it really doesn't bother me and it's kind of exciting to play bigger shows. Hopefully we can still keep it real gradual, keep our wits about us. We're still mentally prepared with the notion that our next record might not have any songs that get played on the radio, that we might not reach any new fans, or even lose some fans. There are no guarantees, so we just try to keep an open mind and try to satisfy ourselves with our music; whatever happens from there happens. We do try to maintain a little bit of self-respect along the way if we possibly can. It's not always possible. q: Just on the commercial side of things, how many records has Hum sold? a: I think it's around 200,000... most of those were sold all at one time, when "Stars" was played last summer and fall. A guy from the label called me a week ago and told me it was still selling 300 or 400 copies a week. we're not really getting played on the radio anymore, so I think that's mostly through word of mouth or something. q: Why should the uninitiated listener check out Hum? a: Why should he? Man, that's a tough one. It's hard for me to talk our music, the merits of it, and what's good or bad about it. We're just four guys who work to write good songs and we put a lot of mental work into our songs, probably too much so sometimes; we kinda drive ourselves crazy, and I don't know sometimes that the songs turn out that great for having so much work put into them. I'd just say that we put a lot of work and passion into what we do. Hopefully that shows up in the music. q: On a less philosophical level, what kind of musical influences make Hum sound like Hum? a: I think it's the different elements of the band coming together. I think we sound like all the different kinds of music that we all like. We all listen to completely different stuff. We're lucky we got a good drummer [Bryan St. Pere] who really likes Van Halen and Rush. I'm more into atmospheric guitar stuff. The other guys [guitarist Tim Lash and bassist Jeff Dimpsey] are into other music... at the end of the day, it sounds like Hum. q: Do you feel like a national act or a Champaign band at heart? a: Well, we feel like a Champaign band, and we hope we forever shall be... [laughs]. I really like where we're at, in terms of success, if you want to call it that. It's a really comfortable place to be. It hasn't created some kind of really weird lifestyle. We're still the same guys, no new wardrobe or anything. I just feel like we're a Champaign band that got really lucky; when we tour, instead of playing in front of twenty people, we get to play in front of four hundred, or sometimes 4,000, and that's a fun thing to do. It's a pretty cool place to be. q: Speaking of the "Champaign scene," what do you think of its merits? A: I like it here... but people, especially people who don't really know what they're talking about, always ask, "dude, what's up with that Champaign scene," and "what's that Champaign scene like?" Well, it's a bunch of guys who sit around at bars or around their porch drinking beer and playing bad loud rock music. It's pretty much like any other lazy college town. [laughs] Maybe, compared to some communities, it's more supportive of our kind of music. I don't know that it's any different from any other college town, really. q: It seems like there is a larger number of bands, especially quality bands. a: Well, it's being going on down here for so long.... There are just a few success stories every now and then that keep people in town interested in it, and kids come to college here, and they see bands they like. They think, "wow, this is just a Champaign band, and i can go see them at Mabel's or the Blind Pig, and that's pretty neat." I mean, that's how I got into it. I didn't know anything about being in a band, or that I would ever want to be in a band. I didn't even really know anything about the kind of music that I like now. I was just in college, and I met some guys, and they sat around listening to music and drinking beer, and then they had their own band that sucked, but they had a great time. [laughs] It was kind of a cool thing. I said, "oh, that's cool. I think I'll do that for a while." [laughs] So I'm sure that's how lots of people start.... I will say that there are lots of guys who grew up here who are really good players and write really good songs. A lot of the bands around here are people who are college students or were college students, but it seems like a [lot of local talent] comes out of dudes who just grew up in Urbana. I'm not sure why that is. q: Anything you want to say in conclusion? a: We're really happy to come up [to Bloomington] and play. It's been a really long time since we played there. It's close enough to home. We should do it more often. --------------------------------------------------------- -------------------- Spins by BUCKET writers --------------------------------------------------------- -------------------- Archers of Loaf, _The Speed of Cattle_ (Alias) Archers of Loaf, _All The Nations Airports_ (Alias/Elektra) It seems like an odd endeavor to discover a band through a b-sides and rarities compilation, but then again, the Archers of Loaf don't qualify as a typical band. _The Speed of Cattle_, with material originally recorded between July 1992 and February 1995, is a power-packed 18-track rarities package that features the Archers in some of their noisier moments. People used to the quirky pseudo-punk of "Web In Front" from _Icky Mettle_ or "Underachievers March and Fight Song" from _Vee Vee_ will find a mildly surprising ensemble; the Archers demonstrate that not only can they write a slick pop song, but they can get down and dirty as well. "South Carolina", "What Did You Expect?", and "Quinnbeast" show the Archers in true guitar-rock form with a confusing groove in the background that makes you want to move, even when you don't know why or where it might take you. "Tatyana" ably demonstrates Eric Bachmann's atypically melodic gravel of a voice and still keeps you on the edge of your seat. "Telepathic Traffic" and "Mutes In The Steeple" go far to solidify the Archers as songwriters extraordinare, some of the creme de la creme in the loosely defined "indie-rock" scene nowadays. And that's all from a rarities album, so what could be expected from the Archers' next full-length? Expectations are raised a little bit as Alias signed a distribution agreement with Elektra, sort of kind of making _All The Nations Airports_ a major-label debut. Disappointment was not to be had. A minute into the album the Archers have you planted and "Strangled By the Stereo Wire". The guitars are less noisy even during the more driving numbers, and the Archers spread themselves out with a little more piano on tracks like "Scenic Pastures" and "Chumming the Ocean", where the piano fuels the rest of the band. "Assassination on X-mas Eve" gets you to listen oh so closer to figure out exactly what's going on; you've almost been so caught up in the melody to forget that Bachmann is singing anything. "Vocal Shrapnel" will set you straight with one of the true guitar-pop gems of the year, and "Form and File" will put over the top that lingering thought in your mind that you're listening to a true classic. With perhaps the most original slant on the post-punk-pop world, sacrificing no melody for schtick, sacrificing no schtick for radio friendliness, sacrificing no radio friendliness for some classic guitar lines, and sacrificing no classic guitar lines for melody, the Archers of Loaf have made a truly impressive statement about modern rock 'n' roll -- with _The Speed of Cattle_ they've said "we're going to do whatever we want, and it's still going to rock", and with _All The Nations Airports_, they come back with "and not only are we still going to rock, we're going to do it our way." Here's to the Archers' way being our way for a long, long time. -- murmur Tool, _Aenima_ (Zoo) Tool's second full-length, _Aenima_, kicks your fucking ass, okay? Tool had already progressed from their debut ep _opiate_ to their first full-length _Undertow_, growing from pseudo-heavy metal to a gloomy, grinding, slimy groove. The progression of Tool has not ceased, as one good listen to _Aenima_ will demonstrate. Tool has taken a slightly industrial edge; not implying that _Aenima_ is full of drum machines and sound effects, but vocalist/lyricist Maynard James Keenan has been playing with buttons and stumbled upon some vocal effects. This only adds to the general discomfort the album spews. Not a single track will leave you still in your chair, as _Aenima_ will have you squirming from the outset. Although bassist Paul d'Amour has left the band due to "creative differences", replacement Justin Chancelor (ex-Peach) holds his own wonderfully. Danny Carey pounds the drums in the same strong, melodic hypnotic rhythms that made _Undertow_ raise the hairs on the back of your neck. Adam Jones has recognizably improved his guitar playing, and is grooving and crunching with more power than he ever has before. Keenan is still unusually obsessed with perversions of sex, murder, and pain; all of which are lyrically illustrated, in one form or another, in almost every song. There are, however, exceptions; he tackles sell-out accusations in "Hooker With a Penis", his childhood in "Jimmy", and drugs in "Third Eye". Also included is a recipe in German for the eggs of Satan in "Die Eier Von Satan", and four shorter interludes interspersed throughout the album hold the other eleven tracks together nicely. The disc's packaging itself is interesting. The CD cover is holographic, along with the images in the sleeve if held in front of the hologram. eyeballs roll, stare, and jump; shapes contort; the band watches a naked woman (yes, it's a woman) twist her body to, i think, stimulate oral sex on herself. Maynard James Keenan and Danny Carey are also nude, which is worth the price of the CD all by itself. Also noteworthy is the band's tribute to the late Bill Hicks (12/16/61 - 02/26/94, death from pancreatic cancer), a controversial (and in my opinion, brilliant) stand-up comedian in the beginning of "Third Eye", in which they include portions of his acts on the topic of drugs. The CD sleeve also includes a painting of Bill Hicks playing doctor with, apparently, a severely injured Keenan. Unfortunately, this image is not holographic. So it goes. You can invent laser-guided bombs but you can't make paintings holographic. All in all, obviously, I love _Aenima_. It hasn't left my CD player since September 30th (yeah, I got it a day early because I'm really cool, let me tell you - I don't even work at a radio station, people just give me free shit all the time because I'm the only sod in town who can get crystal meth - I spend all my money on used, discounted porn and jamaican lovebeads - email me your pets) and I don't plan on removing it any time soon. As cliched as it may sound, _Aenima_ is an intense album not meant for the faint of heart (but, if you are faint of heart, buy it and listen to it anyway because at least you'll drop dead doing something constructive.) This isn't something you'd go to sleep listening to. As keenan howls in "hooker with a penis": "shut up and buy, buy, buy my new record / buy, buy, buy / send more money" If you send me your receipt, maybe I'll send you your pets back. [ The official Tool web site can be found at http://toolshed.down.net ] -- styx New Radiant Storm King, _Hurricane Necklace_ (Grass) Back in the spring of 1990, the first time I ever heard New Radiant Storm King, I was blown away as the feedback reverberated through the tiny Hampshire College venue. Listening to their latest release, _Hurricane Necklace_, brought that feeling rushing back again. Their music has matured greatly in the past six years. _Hurricane Necklace_ displays a full range of styles and techniques that Peyton Pinkerton (guitar) and Matt Hunter (guitar/bass) artfully combine. "Embrys' Crossroads" country swoon bridges into surf rock, and then back to the western tinge behind the words, "I am quite shocked, 'cause you know I can't sleep, I am stupid, and lazy, and mortal, and weak. No you don't know, you don't know." "C/Swoon" starts out with a woozy, airy instrumental, then, ever so naturally, does a 180 and proceeds to tremble with an angry rejection, "I've got ten good reasons and you're not one of them." While _Hurricane Necklace_ shows off Storm King's ability to ease in and out of different moods within the same song, it never sounds choppy or calculated. NRSK's trademark warbly, throbbing feedback glues the sound together throughout. They even stretch that sound to new boundaries in "The Kind Ghost," which features Pinkerton playing with a guitar slide you can feel massaging your brain if you crank it up just right. Besides the amazing musicianship, the lyrics are thought-provoking, and sometimes just outright humorous, as in "Lovers in Waco" about "fucking in an air-raid shelter...we brush our M-16s, we made a pact with god that we would never retreat." "The Bastard Song" mixes music and lyrics to embody the feeling of driving home in the rain after getting screwed over, "when everything I fear seems to reappear, and you're just getting smaller as I drive the fuck away." _Hurricane Necklace_ marks some considerable changes for the band, most notably the loss of their powerhouse drummer, Elizabeth Sharp, who has moved on to Skinner Pilot. Their new drummer, Garrett Fontes, provides another layer in the rich tapestry of Storm King's sound and never overpowers the more "thought out" sound of this album. Storm King's transfer to Grass Records will allow greater distribution of _Hurricane Necklace_ than past albums, as well as the possible reissue of some of the notoriously difficult to find earlier releases. -- katey Silver Jews, _The Natural Bridge_ (Drag City) The first thing that usually gets thrown into a discussion about Charlottesville, Virginia's Silver Jews (in essence David C. Berman) is the Pavement connection. Well, forget it on this album. There are no Pavement members to be found on this thing, and it actually makes for a better record than their previous outing, _Starlite Walker_. The reason for this improvement is cohesion. Berman's thick voice and rootsy songs work much better with the arrangements he provides (and are capably delivered by) to his "new studio band" on this album, which is comprised of two members of Massachusetts heroes New Radiant Storm King. _Starlite Walker_ was not a bad album, but the lack of fractured formlessness and stylistic wandering on _The Natural Bridge_ makes it much more accessible and pleasant. While this can also be construed as "safe" record-making, it's hard to argue with the lilting piano on the album's opening track, "How To Rent A Room". This song sets the mood for the rest of the album, and on this one much more so than the Jews' previous efforts, Berman's voice is allowed to shine through and his probing (and often cheeky) lyrics can be appreciated fully. His theme of choice this time around seems to be the dissolution of relationships (not entirely original, but he pulls it off admirably), and he has really been practicing those allegorical allusions and southern gothic references to give this album the feel of a heartfelt "dear john/jane" rather than an outright dis, even with the line "I don't really want to die/ I only want to die in your eyes," which is delivered wryly, not scornfully. In the instrumental department, "The Right To Remain Silent" is just as hypnotic as "Bar Scene From Star Wars" and rewards repeated listenings immensely. And while the overall feel of this album never wanders much from an easy- listening formula, it's a positively enchanting ride that leaves a warm taste in your mouth and plenty of material to think about, even if some of it refers to seeing B. B. King on General Hospital. -- dominic devito Din, _Fantastic Planet Revisited_ (Hypnotic) Din is my favorite band of all time. There, I admitted my bias. Of course, you've probably never heard of Din before, but that's okay. Din's songs are most clearly defined as electronic trance soundtracks, and are created entirely by Pupka Frey. Put simply, the songs written by Pupka are meant to be the soundtracks for unwritten movies or stories. This is Din's second album, their first being _Decade of the Brain_. This CD is meant to be filled with space horror tracks, and I think it achieves that goal pretty well. On this disc Pupka moves towards a harsher, more up-tempo feel. He also experiments with some new instruments, such as the organ on "Clown Suit". Pupka also sings, which is a first (without a vocoder). All this gives this disc more of an EBM feel, but don't be expecting Front 242 or Leaetherstrip. It's just Din's special version of trance: peppier, harder hitting, with more varied elements to keep it from getting redundant. The standout tracks include "Stab", for its eerie vocals, "Travesty", for being a more evil version of Din, "I've Seen It Done", for being even more evil, and "Clown Suit", for the single greatest organ solo in a song with the word 'clown' in the title. All the rest of the tracks are very good as well, and I don't believe Din can make a bad song. But that's me. I wouldn't recommend this disc to you if you don't like electronic music, or if you dislike trance music specifically. I would recommend this disc to anyone who doesn't fall into one of the above categories. Gee, after rereading that I now feel compelled to point out that I don't work for Din or BMG. -- ogre de latoya Kaia, _Kaia_ (Candy Ass/Chainsaw) "Finally A Dyke Album For The Whole Family" reads the back cover of this record, and it could not be closer to the truth. Kaia, the singer/ guitarist of the highly acclaimed riot grrl band Team Dresch, has executed a great collection of acoustic emotion. Her beautiful voice and guitar playing create wonderful songs of mistakes, break ups and unforgotten love. Songs such as "16" and "Test" are perfect examples of the end of relationships. Definitely recommended to the heart broken. -- michael juliano <113616@ef.gc.maricopa.edu> --------------------------------------------------------- -------------------- Tour Dates by BUCKET staff --------------------------------------------------------- -------------------- As always, this information is subject to change, and BUCKET can't be held liable for Liam Gallagher having a sore throat or for Mike Watt yielding a sub-machine gun. Tool (opening act unknown) Thu Oct 24 Seattle, WA Univ Puget Sound - Fieldhouse Fri Oct 25 Vancouver, BC PNE Forum Sat Oct 26 Salem, OR Armory Mon Oct 28 San Francisco, CA The Warfield Fri Nov 01 Tempe, AZ Mesa Amphitheater Sat Nov 02 Las Vegas, NV The Huntridge Sun Nov 03 Salt Lake City, UT Salt Air Pavilion Tue Nov 05 Denver, CO Mammoth Events Centre Thu Nov 07 Dallas, TX Bronco Bowl Fri Nov 08 Houston, TX International Ballroom Sat Nov 09 New Orleans, LA State Theatre Mon Nov 11 Kansas City, MO Memorial Hall Tue Nov 12 St. Louis, MO American Theatre Thu Nov 14 Chicago, IL Aragon Theatre Fri Nov 15 Columbus, OH Newport Music Hall Sat Nov 16 Cincinnati, OH The Garage Mon Nov 18 Cleveland, OH Agora Theatre Tue Nov 19 Detroit, MI State Theatre Thu Nov 21 New York, NY Roseland Fri Nov 22 New York, NY Roseland Sat Nov 23 Philadelphia, PA Electric Factory Tue Nov 26 Providence, RI Strand Theatre Wed Nov 27 Fitchburg, MA Wallace Civic Center Fri Nov 29 Montreal, PQ Metropolis Sat Nov 30 Toronto, ON Warehouse Sun Dec 01 Toronto, ON Warehouse Tue Dec 03 Washington, DC TBA Wed Dec 04 Charlotte, NC Grady Cole Jon Spencer Blues Explosion (* with Railroad Jerk) Thu Oct 31 Providence, RI Lupo's Fri Nov 01 Montreal, PQ The Cabaret Sat Nov 02 Toronto, ON The Phoenix Sun Nov 03 Buffalo, NY The Marquee Mon Nov 04 Cleveland, OH The Odeon Tue Nov 05 Detroit, MI St. Andrew's Hall Wed Nov 06 Cincinnati, OH Bogart's * Fri Nov 08 Chicago, IL The Vic Theatre * Sat Nov 09 Madison, WI Barrymore Theatre * Sun Nov 10 Minneapolis, MN First Avenue * Mon Nov 11 Lawrence, KS Liberty Hall * Tue Nov 12 Denver, CO Ogden Theatre * Wed Nov 13 Salt Lake City, UT DV8 Fri Nov 15 Seattle, WA Moore Theatre Sat Nov 16 Vancouver, BC Vogue Theatre Sun Nov 17 Portland, OR La Luna Tue Nov 19 San Francisco, CA The Fillmore Fri Nov 22 Los Angeles, CA The Palace Sat Nov 23 San Diego, CA World Beat Center Mon Nov 25 Tucson, AZ Club Congress Tue Nov 26 Albuquerque, NM The Zone Wed Nov 27 Oklahoma City, OK Diamond Ballroom Fri Nov 29 Dallas, TX Trees Sat Nov 30 Austin, TX Liberty Lunch Sun Dec 01 Houston, TX Fitzgerald's Mon Dec 02 New Orleans, LA Howlin' Wolf Wed Dec 04 Memphis, TN New Daisy Theatre Thu Dec 05 Nashville, TN 328 Performance Hall Fri Dec 06 Atlanta, GA Roxy Theatre Sat Dec 07 Athens, GA 40 Watt Club Sun Dec 08 Charlotte, NC Tremont Music Hall Tue Dec 10 Carrboro, NC Cat's Cradle Wed Dec 11 Charlottesville, VA Trax Thu Dec 12 Baltimore, MD Bohager's Fri Dec 13 Philadelphia, PA T.L.A. Sat Dec 14 New York, NY TBA Sun Dec 15 New York, NY TBA Railroad Jerk (* opening for Jon Spencer Blues Explosion, # with Come) Tue Oct 29 New York, NY Mercury Lounge Fri Nov 01 Cambridge, MA Middle East Sat Nov 02 Philadelphia, PA Nick's Sun Nov 03 Baltimore, MD Memory Lane Mon Nov 04 Pittsburgh, PA Beehive Tue Nov 05 Detroit, MI Shelter Wed Nov 06 Cincinnati, OH Sudsy Malone's Thu Nov 07 St. Louis, MO The Gargoyle * Fri Nov 08 Chicago, IL The Vic Theatre * Sat Nov 09 Madison, WI The Barrymore * Sun Nov 10 Minneapolis, MN First Avenue * Mon Nov 11 Lawrence, KS Liberty Hall * Tue Nov 12 Denver, CO Ogden Theatre * Wed Nov 13 Salt Lake City, UT DV8 # Fri Nov 15 Portland, OR Satyricon # Sat Nov 16 Seattle, WA Crocodile Cafe Sun Nov 17 Vancouver, BC Starfish Room # Wed Nov 20 San Francisco, CA Bottom of the Hill # Thu Nov 21 Los Angeles, CA Roxy Theatre Fri Nov 22 San Diego, CA Casbah Sat Nov 23 Tempe, AZ Nita's Hideaway Sun Nov 24 Albuquerque, NM Dingo Bar Mon Nov 25 Austin, TX Electric Lounge Tue Nov 26 Houston, TX Fitzgerald's Wed Nov 27 New Orleans, LA TBA Fri Nov 29 Atlanta, GA The Point Sat Nov 30 Carrboro, NC Cat's Cradle Sun Dec 01 Washington, DC Black Cat Fri Dec 06 Hoboken, NJ Maxwell's --------------------------------------------------------- -------------------- From WESN 88.1 FM by murmur --------------------------------------------------------- -------------------- WESN Top 10 for week ending October 14, 1996 TW LW 2W PK (This Week / Last Week / 2 Weeks Ago / Peak Position) 1 2 2 1 Cake Fashion Nugget (Capricorn/Mercury) 2 1 5 1 Tool Aenima (Zoo) 3 5 1 1 Archers of Loaf All The Nations Airports (Alias/Elektra) 4 15 - 4 New Radiant Storm King Hurricane Necklace (Grass) 5 8 - 5 Marilyn Manson Antichrist Superstar (Nothing/Interscope) 6 7 9 3 Cardigans First Band On The Moon (Mercury) 7 4 7 2 Pet Shop Boys Bilingual (Atlantic) 8 9 22 8 Luscious Jackson Fever In Fever Out (Grand Royal/Capitol) 9 13 - 9 Yo La Tengo Genius + Love = Yo La Tengo (Matador) 10 3 3 3 Social Distortion White Light White Heat White Trash (550) More WESN information, including station stats and general information, and an archive of all previously reported top 30s, can be found at the WESN web page. Go to http://www.iwu.edu/~wesn and see for yourself. --------------------------------------------------------- -------------------- In the next issue of BUCKET by murmur --------------------------------------------------------- -------------------- The centerpiece of BUCKET #03 will be an interview with Cake conducted after their October 3 show at Mabel's in Champaign. An interview with NIL8 after their October 4 show at Bone Student Center in Normal will be present, as well as reviews of the latest and greatest releases. As always, if there's something you'd like to see in BUCKET, suggest it, or, well, write it yourself! Direct all submissions to phuckelb@sun.iwu.edu or you might not have your submissions get much of anywhere. BUCKET #04 will feature an interview with Let's Go Bowling conducted prior to their October 11 show at the Metro in Chicago. --------------------------------------------------------- -------------------- BUCKET issue #02 BUCKET is a dto production. October 24, 1996 --------------------------------------------------------- -------------------- Editors: murmur (phuckelb@sun.iwu.edu) and eerie (doomed@voicenet.com) All contents (c) 1996 dto productions and cannot be reprinted without prior written consent by their authors. BUCKET is a trademark of dto productions. Visit the dto www homepage at http://www.voicenet.com/~doomed Please direct all comments, suggestions, submissions, etc. to the editors. Issues of BUCKET are readily available; direct requests to the editors. Join the dto/BUCKET mailing list! email doomed@voicenet.com for more info. BUCKET ftp site! ftp.lemming.com /pub/zines/bucket will do it for you. Got a release of your own and want some free press? Send it to us! We're BUCKET, P.O. Box 443, Normal, IL 61761, and we guarantee that anything we get will be reviewed with limited information as to how to contact you. This goes for anyone, from Joe in his garage in Denver to David Geffen himself. --------------------------------------------------------- --------------------