The Observer • Augustana College • Rock Island, IL • Friday, April 24, 1992 ARTS Music Review Absurdism on Bloom's guitar powers the big screen

names, with the likes of John romantic new álbum By Tony Macaluso Editor in chief Cusack, Jodi Foster, John overwhelmed by his expressive and a string section at the end. Malkavich, Lily Tomlin, Kathy By Lon J. Wehrle guitar work. There are two other "raps" on Bates and Madonna, as well as Staff Repórter Despite a relatively simple ap- the álbum - although the accom- X aranoia is at the heart of Woody and his usual leading proach, Bloom covers consider- panying music and the way "Shadows and Fog" Woody lady, Mia Farrow. The acting is JL he first thing you notice about able thematic ground on his latest Bloom's voice floats across the Allen's latest movie. The cen- generally full of the flashes Luka Bloom is his voice. Tinged effort. There are ominous tracks words, bear more resemblance to tral character is a jittery and you'd expect from such a cast, with an Irish accent, it brims with like the burnt-out love tale of the talking music style in early hopelessly tense clerk named although there is a sense that sincerity and urgency, whether "You" and the mysterious "Be American folk music than to mod- Kleinman (playedby Allen) who some of them are a little unsure bursting forth in howls of anger Well" which closes the álbum. ern rap. In "Bridge Of Sorrow," is obsessed with death, failure, at times -- certainly due to and delight or gently caressing the There is the angry "Bonés" where Bloom tells the tale of a despon- rejection and in short, almost Allen'shabitofkeepingmostof notes. His passionate voice can a despairing character admits to dent runaway who has nearly given everything in existence. the details of his films secret take what seems an ordinary de- self-hatred, "See that man /1 hate up on life. His voice turns to sing- from every one, including hisac- scription of a room in "You," "The him now/Though I don't want to." ing on the chorus, as the narrator Movie tors. floor is a mess with my things / my In the burning "Listen To The pleads with his friend, "Don't go Inevitably, Woody Allen's hu- to the bridge of sorrow." The fear- Review mor is everywhere throughout, ful sadness of the narrator's voice but it is much less a matter of wit makes the success of the plea seem "Shadows and Fog" and slapstick, but rather the ner- frighteningly uncertain. The third vous and slightly psychotic hu- rap on the álbum is the marvellous The movie opens with a pack mor that comes from fear. title track. With a rapid guitar of vigilantes pounding on the Kafka's influence is very whirling like wheels in the back- door of Kleinman's apartment strong throughout "Shadows and ground, you can almost feel the in order to get him to join a Fog" from the bureaucratic vigi- wind blow across your face as manhunt for a murderer who has lantes, who quickly divide up Bloom describes a bike ride been stalking the streets of the into meaningless factions and through Ireland. The bike repre- anonymous Eastern European refuse to reveal anything about sents a sense of freedom for Bloom city where the film takes place. their grand plan, to Kleinman's and an escape from the madcap Despite his desperate attempts wretched life, from a parasite of pace of modern life. to return to the safety of his bed, a landlord to a violent fiance. Kleinman is eventually forced out into the night to take part in With a rapid guitar some vastplan to stop the killer, ...meaninglessness jeans my shoes," and elevate the Hoofbeat," Bloom laments the whirling like wheels although no one bothers to tell may very well be scene to another levei; obviously suffering of the original Americans him any of the details. more than just a room has been while his guitar beats out the rythm in the background, the only thing we disheveled. Allen presents a sense of para- of ancient hoofs. "I Believe In you can almost feel nóia almost unseen in American can every know for "The Acoustic Motorbike," You" and a beautiful cover of films - the sort of paranóia that Bloom's second álbum, is filled the wind blow sure, in other words "Can't Help Falling In Love" are comes from living in a mental with many such voices - some straightforward love songs while across your face world that recognizes that mean- puré absurdity. despondent, some jubilam, ali of "Exploring The B lue" and "I Need inglessness may very well be the them enthralling. Like the tradi- Love" are about the search for ro- Bloom has bridged not only the only thing we can every know "Shadows and Fog" is sched- tional folk singers of both his na- mance. The latter, the álbum 's big- world of Irish and American mu- for sure -- in other words, puré uled to make what will certainly tive Ireland and his adopted home gest surpriseand perhaps the year' s sic but also the space between tra- absurdity. be a short showing in the Quad of New York, Bloom's acoustic most unlikely cover (the song was ditional and modern music. "The "Shadows andFog" has much Cities in the next few weeks, and guitar (actually an "electro-acous- co-written and originally recorded Acoustic Motorbike" has the of the look of something out of for anyone interested in film tic guitar" in his case) and his by L.L. Cool J.), is a remarkably charm and strength of traditional the 20s or 30s, filmed in bril- which truly attempts to experi- emotive voice bring as much tender ballad of desire. A rap only folk music but with enough mod- liant black and white, full of lin- ment with ideas and stretch the meaning to his songs as the lyrics. in technical terms, "I Need Love" ern spice to keep from sounding gering shots of misty alleys and médium in an effort to give it Musically, Bloom's guitar domi- has only a light, vaguely hip-hop antiquated. Like the scene in the aged omnious buildings. the range and power of litera- nates the álbum. The background beat to connect it to the genre - title track, the álbum is an exhila- The cast is almost ridiculously ture, this is a highly recom- touches of mandolin, flute and otherwise the song is filled with rating ride through a beautifully- crowded with well-known mended film. other instruments are consistently Bloom's softly strummed guitar rendered musical landscape.

When the Alternatives run out: BHnd music criticism and bitter prophecy whether it be a wild abstraction or a few examples. If Slayer has hit progressive nature even if the heart." Truthful lyrical state- By Mike Betts a once-controversial lyric or their guitars the hardest and songs are done well. Seekers of Staff repórter ments? Yes. Universally felt? sound. This seems fine to a liberal thrashed their riffs the fastest, and progressive music are spawned Yes. Butthoughtful?! Different? like myself. if Too Live Crew has sung the most from curiosity in the new and dif- It's like singing, "I had a dog once blatantly controversial lyrics imag- ferent and from a discontent in the and ithadatailandit barked." But m. here's a fine line existing in Music inable, The Smiths, the most mel- established popular médium; ei- still, the other listeners — "Oh, the modern music scene between ancholy and Ministry has achieved ther that or a sudden, traumatic hey, I can relate to that! And its what wecall mainstream and what Commentary the highest and heaviest beats per event, such as driving head on into got a good beat. I can dance to it. we dêem "alternative." Lately, minute and sampled everything another car while listening to Regurgitatible too! Play that one we've witnessed this line becom- However, on the flip side, it under the sun, can we not foresee Whitney Houston. again, the one about the dog." ing twisted, stretched and seems it won't be long before true progressive/altemative music Laugh as I might, mock and criti- remolded under the cross-over death\speed metal bands such as to be edging close to its clif f's lip? Ifs like singing, "l cize to keep my spirits up and my likes of Jane's Addiction, Jesus Slayer suddenly find their once- Resurrection of past movements blood pressure down, reviewing Jones, Metallica, The Red Hot shunned sounds to carry the same isalwaysonewayofcoping. Right hod a dog once and modern music will ai ways be simi- Chili Peppers and Nirvana, who shock effects as the New Kids On now we are in the midst of a re- ithadatailandit lar to firing a shotgun off into the have recently found a market The Block. What will they do to vival of 60s sounds and ideais. night. For the music I listen to now where there once was none. be different then? Throw down Maybe next year it will be the 70s barked." and take comfort in as being un- In this respect, modern music is their guitars and just scream in one and disco balis will start sparkling usual.creativeandthoughtful, may beginning to follow the same path long blast for six minutes straigh t? once again. Every now and then, a main- one day soon be tossed to the way- as modern painting. People's I fear that approaching day when I Either way, the movements are stream hit-radio head gets tired of side and held in contempt by a new minds are slowly opening up and find I've heard it ali.... primarily regressive and based the same patterned sound and lyr- breed of headphone-wearing crit- we find less and less things to be If you're notbuying my scheme upon noticeable key influences, ics like "Oooh, I love you baby" ics who feel they are hearing the shocklng or "altemative" t ach day, of thought, though, let me toss out which somewhat diminishes their and "Oh, it hurts. You stole my true sounds of the day.