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Rhythm in Movement Basely Is Back s/Vith nine straight CIS chai isriips, is year's teas pnessur bringing home number ten? (J ^ Rhythm in movement in'ernancnGi ocnce festival i U VVIUC! I ii arts scene io; Basely is back and looking to return to NAIA world series (11) <MI muoli of a tiaff thing? ^ Th ro porn for fun and profit (12) TH : UBYSSEY .1 XXX* 9 *^-WWW, l\Dmt 16 rEBRUAHYrJ 1918 '^^^m JOHN UPDIKE CULTURE FRIDAY, 16 FEBRUARY, 2007 THE UBYSSEY Dark howling in the Granville night CRADLE OF FILTH The crowd was stunned. titular intro track from their latest release, to satisfy their fans. at the Commodore Ballroom 3 Inches of Blood was a tough act to follow Cradle of Filth was welcomed by deafening Cradle's stage performance has come a February 11th and fans were mor cheers and screams from a clearly excited long way from simple use of the fog machine bidly disappointed crowd. Hands wrapped around the micro­ and green and black lights to a multi-tiered by Anna Olcjarczyk with the lacklustre phone, vocalist Dani Filth leaned back stage with video projections on the back­ CULTURE WRITER performance of and released an ear-piercing ground screen to accompany almost all their 69 Eyes, a band shriek. His powerful singles. Visually, Cradle of Filth provided Metal arrived in Vancouver riding on howl­ from Finland. The voice reach­ spectacular entertainment befitting their ing noise and ear-piercing shrieks deliver­ Scandinavian ing into a gothic lyrical poetry and vampiric muse. ing darkness to a particularly unholy country has pro­ far range The instrumental track "Rise of the Sunday night. duced fantas­ was illustra­ Pentagram" slowed things down a bit, threw Groveling is the best word to describe the tic metal over tive of the the audiences' lighters in the air and epito­ concert—the word essentially embodies the years with highly intense mized Cradle's new diversity found in their everything that great heavy metal music bands such concert the new release. With Cradle, there's always an brings. Shrieking vocals, epic guitars, instru­ as Finntroll, septet produced inspiration and no two albums or concerts mental interludes that united the metal Impaled that left fans are the same. heads—it brought together goths, punks and Nazarene wanting more. The demonic vocal performance by Dani all other manner of heavy music fans at the Children The band Filth, the angelic voice of Sarah Jezebel Deva Commodore Ballroom that Sunday night. of Bodom opened with accompanied with equally dynamic perform­ Opening up for Cradle of Filth was and now Dirge Inferno" and ance by bassist David Pybus and guitarists Vancouver's own 3 Inches of Blood, who gothic "Tonight in Flames," Paul Allender and Charles Hedger, Rosie brought their influence of late 70's British rock. A two songs from Smith on the keyboard and new drummer metal to the stage. Their sound was polished mix­ Thornography. Then Martin Skaroupka, left the crowd salivating with less screaming and more vocals. The ture of Filth switched things for more. Their cheers and chants prompted high-powered drumming, guitar and instru­ Motley Crue and around and gave old- three more appearances and the set mental solos demonstrated the deeply rooted Robin Black, the lead school Cradle fans what favourite, "From the Cradle to Enslave." influences of what metal should be. singer, Jyrki 69, would not stop turn­ they came for: their clas­ No matter how many member changes, Vocalist Cam Pipes surprised the audi­ ing the microphone stand around as though sic tracks "Dusk and or the criticism that Cradle has become too ence by calling out Byron Stroud, bassist for he was Steven Tyler. This goth rock/metal Her Embrace" and "Ghost mainstream, Dani Filth's vision for the Vancouver's own Strapping Young Lad, band was interrupted with chants for Cradle. in the Fog." The juxtaposition of the old band holds strong and judging by what he along with Fear Factory and Zimmer's Hole The crowd was getting restless. and the new indicated the strong back brought to the Commodore, will never stop to wish him a very happy metal birthday. As they cranked out "Thornography," the catalogue that Cradle is able to draw from howling. @ THE UBYSSEY Be one of the first to stop by SUB 23, to pick up a free movie pass to a preview screening of: Zodiac on Thursday, February 22, 2007 7:00pm at Granville 7 Cinema in Vancouver. If you have a university degree in any field, you may be able to earn a IN THEATRES BCIT diploma in one year. BCIT's advanced placement into diploma and MARCH 2 post-diploma business programs can fast-track you into a career in: While quantities last. Financial Management Business Administration > Advanced Accounting > Business Administration (Post-Diploma) > Professional Accounting > Human Resource Management > Finance/Financial Planning > Business Management > Taxation Contact: Liz Moran, 604.451.7019 We have deadli io do you! Contact: Tim Edwards, Associate Dean, Ubyssey is still seeking submissions for 604.432.8898 Marketing Management following issues: > Commercial Real Estate Operations Management and > Entrepreneurship Information Technology > Marketing Communications Women's Issue - March 1st > International Trade and Transportation* > Professional Sales Momoko Price and Mary L > Information Technology Management* > Tourism Management > Operations Management* Colours Issue - March 6th * relevant business degree required Contact: Kadi Rae, 604.432.8293 Contact: Mary Tiberghien, 604.432.8385 ]heata Nao and Candice Okada For more information, visit bcit.ca/admission/transfer/advanced RANT supplement (SciFi Edition) 03.16.2007 TECHNOLOGY CHANGES Apply now for Fall 2007 EVERYTHING atthew Jewkes THE UBYSSEY FRIDAY, 16 FEBRUARY, 2007 CULTURE Ono's I'm a Witch casts an original spell Lewis gives us the Honky Tonk blues American 50s-era sexism far enough behind. cle of a song, "Nobody Sees Me Like You JERRY LEE LEWIS I have read the other reviews, the majority YOKO ONO Do." Before a single chime kicks off this Last Man Standing of which bask in the 'classic' or nostalgic feel of Yes, I'm a Witch track, Ono says matter-of- factly, "I need Shangri-La Entertainment "Last Man Standing." There's no doubt that, Astralwerks the ginger tea" and then the meditation identity politics aside, the musicianship of the on love ensues. Some cheeky lyrics pass artists on this recording is in fact classic. Bruce as self-aware parody and become artful Springsteen gives Lewis the floor on "Pink disguises: "I'm a cool chick baby." by Patty Comeau Cadillac" and the outcome is brilliant, as is the by Caroline Chuang The album is vintage Ono meeting a CULTURE STAFF opening track, a reworking of Led Zeppelin's CULTURE WRITER new generation of hip. True to form, the "Rock and Roll." Meanwhile though, a rendition avant-garde queen is experimental in her Showcasing the last remaining "founding of The Rolling Stones' "Honky Tonk Woman" What stands out in Yoko Ono's new CD is primal screams and beleaguered war­ father" of rock 'n' roll (surviving Elvis, Johnny featuring Kid Rock is simply dreadful. Unlike her unique voice—the artists who pay trib­ bling, and in the eclectic sound mixing of Cash, Roy Orbison and Carl Perkins), Last Man the original, this version becomes the kind of ute to her on "Yes, I'm a Witch" have The Flaming Lips's version of her Standing helps define the difference between song to which you might listen while chasing opted to preserve Ono's original vocals "Cambridge 1969." Ono's voice and lyrics the structured blues and country influences of pigs around the barnyard with your pants while remixing and reworking her back are not only original, but express a bygone years and the rock that gets radio play around your ankles. catalogue of songs. prevailing tender innocence—it's a hope­ today. Fueled by an aging version of musical The album stands as a kind of curiosity, pro­ This collection of seventeen tracks of fulness that is comforting, and really machismo, the disc contains but a single duced as a function of Lewis having survived her best and most popular work are selec­ comes across in her duet with Cat Power, female (Stacy Michelle) contributing backup the alcohol, drugs, and medical conditions that tions by artists she has handpicked her­ that sounds like a hymn and is called vocals on only two tracks. Combine this with killed his fellow originators, and plays as such. self, including Cat Power, Apples in "Revelation." collaborations featuring unabashed male chau­ Pick it up if you're planning a swingers party Stereo, The Flaming Lips, Spiritualized, The music may still be her characteris­ vinists (Neil Young, Keith Richards, Kid Rock with poodle skirt-chasing as an activity or can't and Blow Up. Electro-pop, trip-hop, dance tic high-pitched, distorted screams, but and Toby Keith in particular) and lyrics such as be bothered to seek out remastered versions of beat, and unusual sound mixing pass as it's uniquely Ono, and in collaboration "if it's all right with your mama, I know it's the old hits—just don't delude yourself into odes to Ono, such as Apples in Stereo's with some of these bands it's really not all alright with you" or "look at that fool going thinking that there's anything here that is hypnotically beautiful and affirming vehi­ that bad. @ home to his wife," this record doesn't leave really new, or even much good. @ Norah Jones' genre-bending album simply is too little, too late NORAH JONES Soon." While it is perhaps a strange style for To put this in perspective, consider Jones, though a highly acclaimed singer, Not Too Late Jones to dip her voice into, she makes it her "Thinking About You." This track has a bizarre has an underlying problem in her musical EMI own.
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