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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Sept. 8, 1999)
59 Times The Pain
“End of the Millenium”
Epitaph/Buming Heart Records
Grade: A- s/
There seems to'be.a new trend in
punk rock these days.
Certain bands are playing poppy
punk riffs and pretending they’re hard
core riffs while yelling catchy vocal
melodies instead of the usual technique
This is a very good thing.
Bands such as Dillinger Four, Kid
Dynamite and Hot Water Music are tak
ing the predictability out of punk rock
and replacing it with a more precise
aggression that is still hooky enough to
snag any pop fan.
Apparently, the trend is worldwide
as Epitaph and Burning Heart records
have just released the newest addition to
the aforementioned sub-genre
-Sweden’s own 59 Times The Pain.
Though the band’s debut EP is enti
tled “End of the Millenium,” the sound
is purely progressive and represents
more of a beginning than an end.
Coupled with the heavy, in-your
face hardcore elements are the also
noticeable “Oy!” and street punk roots
done so well they dare you to sing along.
It’s refreshing to hear a band do
away with the self-imposed limitations
of being strictly New York-style hard
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Pulliam Journalism Fellowships
Graduating college seniors are invited to apply for the 27th
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core and the repetitiousness of street
punk/rock and roll. With “End of the
Millenium,” 59 Times The Pain takes a
big step in the right direction toward the
future of punk rock with a sound that is
impossible to ignore.
The album has a nice variety with
each song though all the while main
taining a form true to the band’s style.
They go from mid-speed rock beats
with intricate leads and tempo breaks in
songs such as “Working Man Hero” and
“Need No Alibi” to fast and abrasive
train wrecks such as “Broken Unity”
and “Make It Go Away.”
The band continues to chart new ter
ritory with tough and punchy tracks
such as “Turn At 25th” and “Weakend
Revolution,” both of which have slower
tempos but still carry a lot of energy.
Another notable aspect of “End of
the Millenium” is that most of the songs
offer thought-provoking lyrics smarter
than the average girlfriends-and-bub
ble-gum substance of most pop-punk
tunes but with a more poetic interpreta
tion than a lot of today’s hardcore.
“End of the Millenium” is an excit
ing album, and 59 Times The Pain is
sure to push the punk rock/hardcore
envelope well into the next millennium.
Keep your eyes on these Swedes.
- Jason Hardy
“Come Pick Me Up”
Superchunk is indie-rock’s Old
For 10 years, the Chapel Hill, N.C.,
quartet has turned out one consistent
album after another filled with smart,
complex post-punk pop. Singer/gui
tarist Mac McCaughan and bassist
Laura Ballance have also run the band’s
independent label, Metge, fora decade.
Though Superchunk has been deliv
ering great songs for years, and Merge
Records has turned into one of the most
successful indie labels in the often evil
world of the music industry, the band
gets taken for granted.
That’s because Superchunk has
never released a five-star, brilliant, clas
time album. But it hasn’t released a bad
or even mediocre record either.
The bang has largely stuck to a* for
mula. Extremely melodic pop vocals
are couched in tightly compressed,
aggressive punk instrumentation. The
songs are more anthemic than “Oh,
Canada” and a hell of a lot catchier.
But something happened on the last
album, “Indoor Living ” The songs
became gentler and poppier. Keyboards
and vibes were added to a few songs.
McCaughan, who possesses the most
musical yell in rock, showed more vocal
range and even used falsetto on a few
The band keeps moving in that
direction on “Come Pick Me Up” but
with mixed results. The album was pro
duced by Jim O’Rourke, who has col
laborated with Tortoise, Gastr Del Sol
and Sonic Youth, and some of
O'Rourke’s experimentation creeps into
“So Convinced” has a drumbeat that
is heavily manipulated by studio effects,
“Hello Hawk” includes strings and a
horn section, and a handful of other
songs contain expanded instrumenta
tion. The oddball touches provide some
of the album’s best moments, which
bodes well for Superchunk’s future.
Despite the changes, “Come Pick
Me Up” sounds a lot like the
Superchunk of old. The band, even at its
loudest, shows off a subtle interplay
between the instruments that can be
achieved only through years of playing
together. The songs are smartly written
and are still based in indie-rock, punk
and pop. And “Good Dreams” is as loud
and intense as any of the old stuff.
Unfortunately, the melodies don't
always stick. McCaiighan softly croons
most of the time, and his melodic yell
would better propel some of the lesser
songs. “Pink Clouds” in particular suf
fers from singing that is too understat
McCaughan isn’t the only band
member who’s holding back. Drummer
Jon Wurster, who previously assaulted
his drums like our commander in chief
assaults his interns, doesn’t get to
stretch his musical muscle. The songs
don’t give him much room to play.
These are minor quibbles, though.
“Hello Hawk” is an excellent example
of what new directions Superchunk is
capable of; it has fierce guitars, difficult
but rewarding pop melodies and a use
of strings and horns to add texture to the
palette. “So Convinced,” “June
Showers” and “Tiny Bombs” also show
that this band wron’t wear out its wel
“Come Pick Me Up” is a transition
al album and sounds like the soundtrack
to an unfinished novel. The novel is not
without its rewards, though, and any
Superchunk fan should want to read it.
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TIME IS RUNNING OUT!!
For You To Remove Your Name/Address/Phone
From the UNL Student Directory
The 1999-2000 University of Nebraska-Lincoln
Student Directory will be on campus mid-October.
Your name, campus address/phone, and home
address/phone will automatically appear in the
directory. If you do not want to appear in the
directory, you must restrict your directory
information before Friday September 10, 1999.
You can restrict directory information by going to
the Records Office, 107 Canfield Administration
Building. Please have your student ID available. If
you have previously requested directory restriction
on a Change of Address Form, you do not need to
take any further action.
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Hello, Dolly!’ comes to town
It’s a role inextricably linked to
Barbra Streisand and Carol
Channing: Dolly Levi, the meddle
some matchmaker in the musical
But this Friday, the Lincoln
Community Playhouse, 2500 S. 56th
St., opens its own production of this
classic musical comedy.
Based on the novel by Thornton
Wilder, the musical includes such
well-known songs as “Before the
Parade Passes By,” “It Only Takes a
Moment” and “Hello, Dolly!”
“Hello, Dolly!” tells the story of
Dolly Levi and her hilarious attempts
to run the lives of Horace
Vendergelder, his daughter and his
“Some people paint, some sew...
I meddle,” Dolly says.
The musical opens Friday and
runs Sept. 11-12, 15-19, 22-26, 29
30 and Oct. 1-3. Curtain times are
7:30 p.m. Thurs.-Sat. and 2 p.m. for
all Sunday performances except a 7
p.m. performance on Sept. 19.
Ticket prices are $9 for students
and $23 and $25 for adults. For more
information, call the Lincoln
Community Playhouse box office at
UNL to hold piano gala
The School of Music at the
University of NebrasVa-Lincoln will
present a Piano Gala at 8 p.m. on
The concert, which will recog
nize current and former piano faculty
members, will include the dedication
of a new Steinway piano.
The program features works by
Beethoven, Rachmaninoff, Brahms,
Bach, Liszt, Chopin and Schumann.
Also included is the world premiere
of “Tentacles,” a piece composed by
UNL composer-in-residence Randhll
Paul Barnes, Ann Chang-Barnes,
Mark Clinton, Harvey Hinshaw.
Larry Lusk and Nicole Narboni will
The concert is free and will be
held in Kimball Recital Hall.
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