Peaks Continued from Page 9 - oring, guitar strewn collage comprised of sections from the other songs on the album which often slips into and out of a haunting drivel. The instrumental tracks have a definite detached and eerie quality about them, while the three vocal tracks are something closer to fables of love and despair - concentrating on simple and poetic images. Angelo Badalamenti has collabo rated with Lynch on three albums in the past year, the first being an album titled “Floating IntoTheNight." The Funny Continued from Page 9 movie is noteworthy. Unfortunately, Wilder contributes to the bland nature of the movie by neutralizing the effective perform ances of his female co-stars. His at tempts to be cute and funny are nei ther and his characterization is fluffy and annoying. The overall product is mildly en work was composed by the two for vocalist Julee Cruise, whose soft and wistful voice is heard on the three vocal tracks on the “Twin Peaks” soundtrack. Their second effort is the soundtrack to Lynch’s Palme d’Or Grand Prize film “Wild At Heart.” The “Twin Peaks” soundtrack is the third. Although the soundtrack to' ‘Twin Peaks” is best appreciated with a backdrop of Lynch’s skewed and beatific prime-time world of secret desires and dancing midgets, the music on this album is a unique and power ful presence which haunts and ex plores below the surface of one’s conscience. tertaining, but certainly worth no more than a $1 admission. Waiting to see “Funny About Love” on video also is not recommended unless you’d 1 ike to spend an evening doing absolutely nothing. Otherwise, just watch the happen ings in your own life or those in a friend’s life. They’re probably just as interesting and much less expensive. “Funny About Love” is playing at the Plaza 4 Theatres, 201 N. 12th SL_^ ya II about Cats\ yA special store for cats, cat lovers\ and their friends \ rorHc t Qhirtc 1627 South 17th St. Gifts, Cards, T-Shirts, , , . *1 Books, Collectables, Lincoln, Ne 68502 Jewelry, Cat Supplies 477-7877 (Purr) I -Fri. 10.00 a.m.-6 p.m. Sat. 10-4 / j Sun. 1-4 / Fi Tar performs for an enthusiastic crowd at Duffy’s Tavern on Sunday night. Tar hits Lincoln with attitude, but lacks live show enthusiasm By John Payne Senior Reporter What Chicago garage mongrels Tar lacked in stage charisma Sun day night at Duffy’s Tavern, the band more than made up for in sound. No nonsense to the core, the al ternative quartet of vocalist/gui tarist John Mohr, guitarist Mark Zablocki,bassislTim Mescherand drummer Mike Greenless meshed a barrage of largely mainstream sounds into a murky clamor that still managed to tall just left of center. The Amphetamine Reptile re cording veterans brought with them a few weathered guitars, some audio problems and an attitude. Playing to a small crowd that was as impatient as it was curious, Tar got things going with tracks like “Cold” and “Black Track,” from the their recent release, “Roundhouse.” Mohr, clanging away on a scuffcd-up silver Telecaster, lent an intelligible voice to the driving dual guitar flow of him and Zablocki - working particularly well on the probing “Glass Grief.” Tar took plenty of lime finding a clean sound, not lo mention just getting on stage, but once the feedback and last minute delays were squelched, they managed to pack a lot of punch into an all too brief set. Clearly disappointed by the modest turnout, Mohr decided to lake out his aggressions on the microphone, howling with genu ine fervor on last year’s “Flow Plow ” And flow it did, as the entire show took little more than an hour. When some of the more spirited moshers, just drunk enough, or maybe just enlightened enough to appreciate the moment began to slam the stage amps and bark out references to Ted Bundy, Mohr got a little annoyed. “I’m just here for the atmos phere,” he sneered to Mcschcr. Tar’s lack of enthusiasm was of little concern to those in atten dance, though, and after all, the best bar gigs in the world seem to occur when a band gets truly pissed off at its audience. That was certainly the appeal Sunday night, and when Tar tried to skip out before doing an encore, some irate, unsatisfied folks de manded more. Mohr gave more, appeasing them a “Ride my Seesaw” before giv ing things the final kick in the teeth with “Play to Win.” Tarmaycomeoff as rock ‘n’roll malcontents, and they may not bring a lot of exuberance to their live show. But by their own admission, they are more of a studio band. 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