BEGIN LINE_NOIZ.24 I S S U E - @ $ D E C E M B E R 1 8 , 1 9 9 4 LiNE NOiZ> [L]i[N]e [N]o[I]z -- two4 { merry christmas } CYbERPUNk I N f O R M A t i 0 N E - Z i N E <<<<<<<<<<<<<<<<<<<<<<<<<<<<< L I N E N O i Z >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> I S S U E - @ $ D E C E M B E R 1 8 , 1 9 9 4 : File ! : Intro to Issue 24 : Billy Biggs : File @ : Interview with Bill Leeb of Front Line Assembly, Delerium, Intermix, etc.. : Billy Biggs : File # : Heavy Duty - Chapter 5 : C.McLean-Campbell : File $ : Nibbles of Information : Billy Biggs ------------------------------------------------------------------------------ --<----<----<----<----L - i - N - e ----- N - o - i - Z ---->---->---->---->-- ------------------------------------------------------------------------------ File - ! Merry Christmas! Finally the interview w/Bill Leeb, sorry for the delay. The next issue of Line Noiz is scheduled for release on Jan.1 so send in your submissions before then!!! -Billy Biggs, editor. ***** N o T E ****** - We have been experiencing problems with our subscription list. If you find that the following subscription instructions are not working then e-mail me at ae687@freenet.carleton.ca and I'll see what I can do.... =-*-= Subscription Info =-*-= o Subscriptions can be obtained by sending mail to: dodger@fubar.bk.psu.edu With the words: Subscription LineNoiz In the body of the letter. o Back Issues can be recieved by sending mail to the same address with the words BACK ISSUES in the subject. =-*-= Submission Info =-*-= o Please send any submissions to me: ae687@freenet.carleton.ca o We accept Sci-Fi, opinions, reviews and anything else of interest. o Submit! Submit! Submit! Submit! Submit! Submit! Submit! Submit! Submit! ------------------------------------------------------------------------------ --<----<----<----<----L - i - N - e ----- N - o - i - Z ---->---->---->---->-- ------------------------------------------------------------------------------ File - @ [ Here it is, the talk. I spent almost an hour on the phone with the guy, ] [ and have decided to put most of the conversation in here for anyone who ] [ wants to sift through it. It was an interesting chat, the guy seems like ] [ he has at least half a brain, but I still think he'd get farther if he had ] [ a more solid musical training. Oh well... ] [ Please excuse any mistakes, I was typing this off a recording done at very ] [ low quality, as well as the spelling mistakes I know are in here... ] [ BB = Billy Biggs, me BL = Bill Leeb, of FLA etc.. ] BB: Ok, well, first of all I have talked to you before, on internet, on the IRC chat in September I think it was, and people were wondering what your views were on that... BL: I think that it started off good but I think the problem with it was you have too many people on it and too many questions, that like so many questions go by that you can't answer cause there's so many more comming in you sort of lose your train of thought and you can't focus on one thing on the screen, they're just rolling off like a fax so it's kind of hard to have a conversation with any one perticular person so when you're answering one question and another one comes from a whole different realm. It's hard for me to focus and then I think it kind of got silly because of that. But I think the concept is good it just has to be a little more controlled. BB: Do you plan on doing it again? BL: I wouldn't mind doing it again especially now because people have heard besides the new Delerium the new Front Line. I think there is lots of controversy with the guitars and all this stuff. I think it would be kind of funny. I wouldn't mind doing it as long as people don't get too personal. It's kind of ok if you just do it as like a musical sort of thing but when some people get kind of personal then I think it's kind of silly, it's not that serious of an issue... BB: Do you plan on doing anything more on the internet, like a web page or an email address or something? BL: Well, I know puppy had one right? BB: Yeah, they have an email I know... [ puppy@netcom.com I think ] BL: I'm trying to decide how useful that would be.. Like, what do you think the audience is of this whole Internet thing, at any different time.. BB: [ Bit of explanation of Internet audience ] BL: Like I said we've been sort of kicking the idea around alot.. I mean we're going on tour in the spring right so we might either do it before that or I might wait till we come back, I mean like if I'm gone for three months it's not going to do me much good... The email thing does that like just basically store stuff for you? BB: Yeah, it just holds messages until you want to reply, if you want to reply. BL: Well, I guess the only problem I have with that is it seems like it gets kind of personal I mean it seems more formal just writing letters to people, and when you get on the Internet it's like 'Chat Line'. So I think maybe I thought for a little while it's like an invasion of my privacy, like even when I go out people see you, they know you, they come up to you and it's like they want something from you, so I kind of like hmmmmm y'know but I might though. BB: Do you plan on releasing like a CD-Rom or something like that? BL: Yeah I'd really like to do that especially with Frontline because we have alot of stuff, I mean we even have alot of live footage stuff from the last couple of years that we haven't done anything with, but I saw Sarahs and I think that was totally cool. Especially for a band like Frontline, where alot of it's electronic stuff so we're really into the whole Multimedia thing so to me that would be the logical step. It's just a matter of getting the record company to go with it. The problem with RoadRunner is that they aren't really technology related or technology friendly related, they're more of a head-bangers label. But I'd really like to do it. I was talking to the guy who did Sarah's and asking how much it would cost and stuff, I think it would be really cool. Do you think this sort of thing is the wave of the future? What king of market capability do you think that will have? BB: Well, I mean if you buy a new computer now it normally comes with a CD-ROM. BL: Well, it's probably becoming standard now right. BB: Yeah, I'd say so. BL: Well, definatly I think we'll be doing it, I've already been asking about it it's just a matter of going through the red tape.. [ Delerium ] BB: Well, with the new Delerium release ("Sematic Spaces") it was a big change for Delerium, is this the new sound of Delerium? Do you consider this a departure from all your old stuff? BL: Yeah, well, y'know, it's kind of like music for me and Rhys is like the weather right, like everyday you wake up in a different mood.. I don't know about you but if I'm in an aggro mood I'll listen to aggro music, if I'm in a laid back mood I'll put on 'Dead Can Dance' or something, so it's the same when we write, it's just whatever the mood suits us at the time is what we'll do. I don't think we ever feel like we better just do this because we might be making these people mad, I think we just do what we want when we do it because we feel it's right at the time. I think we've done so many Delerium albums that have been really dark and ambient right that it's probably good for us, like it was fun to do one that wasn't so dark, and maybe a bit more commercial. I mean at the same time we wrote Spheres 1 and 2, and Sematic sort of in the same year, and I think Spheres 1 is like really dark, and I think it's one of the best ones. I think that, on a consistency basis, Spheres 1 is probably the most, I mean, it just sounds like a whole Alien soundtrack. So like I say we did that one right after, so it's just a change of mood. But y'know the funny thing is is that least, well I dunno, the new Delerium is getting like 50 times the exposure right. I don't know if you watch MuchMusic [ Canadian music station ] but we're on medium rotation, we were on 4 times yesterday! Like it's been on three times a day right now. It's a cool video, "Flowers Become Screens", it's done in black-and-white and shot in a desert right. Y'know what they even played it on, "Electric Circus"! I couldn't believe it! [ EC is a live dance at the MuchMusic station shown every friday that plays dance music with dance music people dancing ] And then they played it like an hour later on "City Limits" right with the Frontline one on "The Wedge" I saw it like 4 times in one day so if you like keep your TV on I'm sure you'll see it right. So in a way it's good to do one like that so maybe people will go and oh so Delerium is a real thing and then go and buy one of our older records but they'll probably weird out cause those were pretty dark and pretty industrial. Like I say, we're like the weather right, if we feel a different way we'll do something different again. BB: Well, if this new Delerium does really well and people like it are you going to do the same sort of thing then, are you just going to go with the flow? BL: Well, with all the signs so far I'd say this is easily our best selling one so far, I mean it's like on all the charts now so I mean, yeah, it's like we'll cross that bridge when we get to it I mean we'll see how we feel in 8 months from now, see who's available. See the weird thing is that when we wrote this we had no intentions of anybody singing over it. It was kind of like we wrote the record and then we gave it to Nettwork who said, oh well are you guys interested in having somebody sing over it?, and so we sat back and the songs that she sang that, we pulled out some stuff right, so she could put vocals on it right, so yes, so I think that's why it turned out. I think it's a great record, I mean I think that's why it turned out as it did. I mean we weren't trying to make a commercial album we just did what we normally do. BB: Well what about the enigma sounds, some people were saying that you were just ripping off the enigma sounds? To get more commercial. BL: Well I mean the only thing we used that they did was our Gregorian chats right. BB: Well there was the beat in Flatlands and the whole Enigma style right. BL: Well for a beats sake we could do that thing ourselves we're just too lazy right. It's no big deal it's just like a kick and a snare. Like who hasn't sampled a drum beat? like I said if we wern't so lazy we'd just do it ourselves I mean a drum beat doesn't mean anything, it's just what you put on top. And I mean the Gregorian chants we used that with puppy like 8 years ago, we just didn't get famous that's the problem. But it's kind of weird right some band comes along and they get commercially successful with doing it and also and maybe we might be trying to burn down that, but we were doing this when that guy hadn't even heard of this kind of music. But whatever, I mean like I think it's 50 times better than that if you listen to like either of the Enigma albums. I think the first one sounds like all one big song and the second one just sucks. They've a song that's like the Day of the Dolphin or something, like oh my god, like I can truly say me and Rhys have never done anything like that so when people put us in the same rap well then maybe there's a few sounds that come from the same sources y'know but whatever. When it comes to coolness i'd say those guys have some major clones stuff in there stuff right. I mean I think that last album just reaked. And what about the drum beat they stole? You know what one on the single? BB: The "Return to Innocence" one? BL: Yeah, well, that drum beat is like a total Lead Zeppelin loop right, It's from when the levy breaks. it's on every sample cd you can buy like it's even on the budweiser commercial when the guy throws the baseball at the building and the whole thing falls down, right. but I see nobody saying why is enigma using a lead zeppelin drum beat. I hate that kind of analization because then they aren't looking in their own back yard I mean I could pull alot of things out of their music that, things that they use, I mean most of the sounds they use are presets, at least we don't use presets. I can find you the keyboard where they got all these sounds from! But you see I don't have time to explain that to every guy on the internet what I'm telling you. I mean, on that cd, to me, they're burning a bigger band then we are. I mean Led Zepplin will always be a bigger band than Enigma right. So y'know who's burning who? It just depends on how you look at it. BB: Ok, well, will you be using Kristy Thirsk again? BL: I'd like too for a song or too I think she does a good job. See, what I'd really like to do next time is to use her and Sarah for a song or two, and I'd also like to get the woman from "Dead Can Dance" to sing on it. I think it would be great to have like 3 or 4 tracks on the album with 3 different singers. BB: Well, would you use her with like Frontline or something? BL: No, well, maybe just for backup singers like the who-whos or the do-ups right? No I don't think that would work with Frontline. For Delerium, I think we'll do it the same way right like write songs like they aren't meant for singing and then we'll bring somebody in and say ok well sing on top of this, then it won't sound so pretentious right, cause I don't want like a pop record right, I'm just not into that. BB: Is there anything new planned for Delerium right now? BL: New? Not really. I guess because like the video is new and I think they're going to work "Flowers" down to all the major radio stations in January and stuff cause they still think there's still alot of life left in it that record right. I think the problem is that it still not on a major right so I think we're still not getting major exposure. I think that if that record got the same backing that enigma did we'd do just as well if not better. That's what they think too right so they're still trying to do that. Intermix BB: Well, about intermix right you have a new release comming out with them? BL: Yeah. BB: When is it comming out? Could you tell me about it? BL: Yeah, well, it's called "Future Primitives", yeah "Future Primitives". I think you're the first guy I've told that too. BB: Actually, I think you said it on Internet. BL: Did I? Hmm.. Well, you know that's cause I never remember it right.. I think it's going to come out in Feburary or something like that. BB: Well, you said on the chat that you aren't into raves and the rave scene. Isn't Intermix towards like the whole techno-rave scene? BL: Well, err, ahh, erll not the new one it's sort of filled with like African chants and tribal stuff, I mean it's pretty ethnic stuff. BB: Well, are you trying to make it sort of like tribal-techno sort of stuff? BL: Yeah, yeah. BB: Well, that is sort of a sub-genre of techno right. BL: Well, I like aspects of it, I just don't like, I'm just not into that "Electric Circus" sort of thing. BB: Well, EC isn't really techno.. BL: Yeah, well, y'know that whole sort of that crowd. I don't know, it's kind of weird to explain. I've always been more sort of anti- things like that when people were into like Spandu Ballet and stuff we were into Portion Control and Noibot, y'know what I mean, so we'd always go around and say look at those sucky people right and me and orgre and kenny that's how we started puppy. It's kind of like the same thing I find with parts of the rave thing. There are kind of like casual people that shop at like the bluejeans store like the gap and then they show up on the weekends for the raves. And they don't even know what they're dancing too, they're a bunch of idiots. It's not that the music I don't like it's just like alot of those people like with the white tee-shirts and the devin boots and the chains in their pockets and the slick black hair, y'know what I mean, it just that I don't like that concept. I mean, there's nothing wrong with doing drugs and dancing all night too tech music because I'd rather listen too that then rock, I hate rock right. It's just like the whole feel of it some nights I go there and there's a whole lot of GQ people with their shirts off and I'm like, oh man I don't want to see this, so I think it's more like the people than anything else. BB: Well what do you think of rave music? BL: Well what's rave music? Is orbital rave? is the grid rave? like didn't rave music disappear a few years back? like James Brown is dead right? BB: Well, not really I mean rave music would be like sort of like the beat with the sort of LFO kind of acid sounds. BL: Well I mean LFO only released like one album BB: I meant the synth term, as in Low Frequency Occilator sort of thing [ I was talking about pitch-bend arpegios ala every acid sound in techno now ] BL: uhh, well, I mean it's okay for like a dance club right but when you bring it home it sounds like shit right because it's usually just like one kick drum and then you hear like this little bass line and then it's just like bomp-chick-a-chick-bomp-chick-a-chick y'know and there's like nothing else going on it gets really boring quick right. I guess the problem for me and Rhys is when you do music for so long to tell you the truth y'know, I could do an album like that in a night right, it's really not hard to do. So for like the average guy who doesn't know anything about anything it might be cool right but when you've been doing it for a while and you set high standards for yourself and you hear stuff like that you go, well, whatever. I mean I find that kind of music has a really short shelf life as well it's like DJs go to like the local store they play all the new 12", take them to the club and play them for three weeks and then discard them and then the next thing comes out. Every week all the DJs line up at the local techno store waiting for the next white vynil stuff they can mix into clubs but most people don't know what they're dancing too. So usually for people who make that there's usually no money in for most of it either. So it's great for like a bedroom worrier y'know, sits in his bedroom and program some beats and puts out a little CD, and I think that concept is cool and that everyone should be able to do that. I just find for me I usually look for things that are a little more evolved, a little more difficult. But I think it's good that you can do that. Like Aphex Twin, I think everything he's done he's done in his bedroom right. I mean it sounds like it too right, there's nothing. The concept is great that anyone can go out and buy his own stuff and make their own music and get it played and I mean there's room for everybody and I think that part of it is good. Front Line Assembly BB: Do you consider the new album a departure from everything that Frontline has ever done before? BL: Yeah I think that like, I don't know what it is I think that really it's, like I think it's probably the most Frontline album. All the stuff underneath is so signature of what we do, it's just we've added one new element and we just added that element because we wanted to do something different for ourselves. It's like again it was like the thing of like ok, we've written an album, and yeah it sounds great and all the technoheads will like it, but we didn't like it, so we wanted to add another concept where we thought like, yeah well maybe some of these people wont like it, but alot of new people will like it and at the same time it was just fun to do. I don't think we take it as serious as other people think we do but at the end of the day we're just having fun with it. it's not like, if you don't like it you're going to die from it, it's just music right and it's just something to do. So I think some of those people just take it a bit to serious as well and I think we wanted to have fun with it and we wanted to change the sound and, I don't know but I think that in some aspects it's the the best sounding one by far I just think it takes people a while to get used to it and people I always find as always the slowest to change. I mean, nature changes quicker than most humans do right and people sort of get familiar with a sound and as soon as the familiarity is gone they start weirding out but I think in the end the change is whats really important even if at first people usually don't want to change and they hum and huh, it was like computers, nobody wanted computers when they first came out, it was like 'oh my god I don't want one of these' and now they're running the world. I think it's the same as what were doing I think that in a year from now it will be like, it will be the same thing. But somebody's got to get up there and break the mold and try something a bit different and it's got nothing to do with getting on the bandwagon or wanting to sound like anybody else, has absolutely nothing to do with that. I don't think anybody's record sounds like this one, _anybodys_. Maybe people used the same elements, but I think the way we've done it I don't think anybody's done that.. BB: So you weren't trying to become mainstream with this? BL: Nooo [ very persuasively :) ].. If we wanted to be mainstream you'd have to take a whole different approach... you have write ballads, you have to get a crooner, our music's way to weird for most people still, in that aspect I still think we're still a sub-culture kind of band, I just think we set really high standards for ourselves and I think we still follow them. With each record we're trying to do somthing a bit differnet, and that's what we did with Millenium and I'm sure we'll do with the next one. I think that's the part we like, the technology part, where we try to do something different every time. I just didn't want to do another record like the last 2. BB: Why did you decide to do the rap? BL: Yeah, well it was again trying something differnet, and see we like some of that music too right so again we thought this would be cool because we like some bands that were doing that kind of stuff we thought we just happened to write a song that when we finished it we listend to it and we went y'know this would be pretty cool to do the song and when we brought the guy in and he layed down the rap we thought oh yeah we like this so, it's one of those songs y'know lots of people think it's great, some people think it's their favorite song, other people hate it. I think it's better to have an album where people react then people just go like it's ok oh well tactical was better, I would rather prefer if they go oh this is killer, or oh i'm weirding out oh my god!. I think it's better to stir up the emotions in people and get them evoked about something than to play it safe and sell the same amount you sold last time. I'd rather take a chance and try something different because I think the reward can be greater too and I think it's more exciting and I think that's what it's all about is evoking peoples intrests or their feelings about music and that's what we did and we're getting more violent reactions from people and I think that's more fun. BB: Why did you do the rap with that guy? BL: Well, I wanted to get the guy from Public Enemy, but he's to expensive. Y'know were a bunch of white hockey kids I don't think the political aspect might come into play but, I think it had alot to do with that we were working with Nettwerk at the time already and they have an album on Nettwerk so it was just handy. We were there, he was there and it just went down. BB: Are you going to have more rap on your albums? BL: No that was more of a one shot one thing probably never-ever happen again. BB: What interested you in the movie 'Falling Down', you used samples from it in your first few songs? BL: I like what it says, *laughs* I like the statement. I think that for a better part I can appriciate where he's comming from. I think the roles are changing of people in the world, majorities are becomming minorities and minorities are becomming majorities. I just feel like there's just too many people in the world and people are becomming less tolerant but yet you have too y'know? And it's like you just see it, people weirding out all the time and it just kind of interests me all that stuff how like people are trying to find their own identities and the only way they can do it is to go out and shoot a whole bunch of people and so people go here's a name blah blah blah and he gets on the news right. But y'know, I guess we've created this society so now we have to live with it. It's just so on the money now like the whole how things are gonna be and gonna get even worse I thought that that was a good concept for our whole album. The human interest story of like of a society that's crippled by it's own laws and fears and regulations and it's just gonna get worse you can't get better there's just too many people and the planet can't support it. It's kind of a drag i won't be here in a hundred years to see the severity of it, I think it will be a fun time to live in. My visions are like, y'know the roadwarriors thing, mutants roaming the earth looking for gasoline, I just think that would be an awesome time to live in, just like on your smarts. I would. So anyways I went on that kind of vibe for the album and that movie I thought struck a good chord there. BB: So like the album had that sort of theme. Is that your style to like to things in themes, for example tactical had a sort of cyber theme? BL: Yeah this is the theme. Even the title 'Millenium' it's sort of like a forwarning to people about the future and what we think it too be so we want to be sort of a real epic sound and name to it and I think it does that quite well. BB: About samples in your work, do you need permission? BL: Yeah, for real obvious ones yeah. Like the guitar samples we have contracts and everything for that. It's all listed on the album. All the bands and stuff. We're not that stupid. BB: Ever had any legal problems with samples? BL: Well you only have problems with samples is when you use part of a song or something. When you're just using like a door slam or something or a kick drum or a snare then nobody cares. You also have to remember that when you sample something, those people sampled it from something else. I mean look at FSOL, their song 'Pappa new-guinea', it was like a big hit, it had the woman from dead-can-dance all over it. It just depends how you use it but we go through all the legality of it. BB: When you get samples from like movies or stuff do you have any method for searching for them? BL: No, I just watch alot of films. And whenever I hear something I go, oh this would be cool, and I keep notes right so I just go back one day and get them all. BB: Do you have some sort of database of samples? BL: Well, we've got everything on DAT right. So, I usually write everything down right. There is sort of a method to the madness right. BB: What about the lyrics in "Millenium", do they actually mean anything? Do you put any thought into your lyrics?? BL: Oh yeah, I think these ones have alot of thought put into them that's why they're printed. BB: Was there before? BL: Probably, yeah. BB: Why do you have different projects? Why not all have it under one band and under one label? BL: That's funny. *laughs* I think you'd just be confusing the issue and we like to do this full time right, so this way we can always be creative and always be doing something. We don't have to sit around and like wait for this or wait for that and I think they're all pretty different in their own merits and since we like doing it all the time why limit yourself to one thing? It's like going to Europe, why only visit one country right? Don't you want to explore and go everywhere? BB: Do you have guidelines for each group? As far as what constitutes an Intermix song or a Delerium song? BL: Oh yeah, sure. I think it's pretty easy. If you listen to the stuff everything has it's own style. BB: Do you have any other projects planned? Like, a new band? BL: One more thing we're going to start, but we wanted it to be like a real, like more like a hardcore electronic punk band with like live guitars we're going to like change the name and everything and get some real players that will be like something totally different. BB: Are you going to still have Frontline around? BL: Oh yeah we'll still have that this will be something totally different. This is probably won't have anything to do with this scene at all we're doing this for something totally different. BB: Are you still going to be using like electronic instruments? BL: Parts of it but it will be different. BB: When is this planned for? BL: Oh, probably in the next year sometime. BB: On the net you mentioned something called Organisms 1 and 2, what is that? BL: Those were techno comps me and Rhys put together of like local artists. They're techno comps of trance-ambient and I think they're really good, much better than any of that shit that comes from Europe. We've got some stuff on it, and Sect has some stuff on it. We're just doing it to help out the local artists. BB: What's your musical background? BL: I don't really have one. BB: Do you have any formal musical training? BL: Nope, nothing at all. BB: Can you read music and play? BL: Nope. BB: Can you read music? BL: Nope, don't wanna know. We just do things by feel right. I don't need some like I know like the scale and I know each note. BB: Do you know chords? BL: Oh yeah, I know all that stuff. I can sit down and play anything I want. That's all I need to know. BB: Would you say your music is more chord based than note based? BL: Both. We know where everything is and how everything works and that's what we need to know. I don't want to know any more than that cause I think that would take away our creativity. I don't want to be able to play the sting cause once you play like that there's no going back. BB: Do you input stuff into MIDI and then build on top of it? BL: Yeah, we always start with the rhythm tracks. Then just build on top. We usually write like main groove, then come up with a chorus to see if we can take the song any further. BB: Do you find your music using synth tricks more than musical ability? BL: There is no method to the madness. It's like, whatever works works. There's no set rules, it's like if it fits if it works if it sounds great it doens't matter which way it's done that's the ultimate goal for us. BB: What sequencer do you use? BL: We've got a couple we have like the c-lab, the notator, the creator. We've got one of the q-base doo-hickeys and we've got one of those mac-jobbys it's whatever works on a given day that's what we use for a sequencer. BB: How much is done live with like Front Line Assembly? BL: Like this time what we're going to do is when we play live we'll have the sequences and we'll have the click track and so the drummer will play along with the click. And then we'll have the guitarist and Rhys plays all the keyboards samples and strings live and so the only things that will be on tape will be the sixteenths notes cause nobody can play them right. That's pretty live if you ask me and that's just as live as anything else, except for memorex. BB: So this tour is in the spring? BL: Yeah, I think in March. BB: What do you think is the future of electronic music? BL: I think the only thing that's going to happen is like it always has is you'll see less and less bands with music and you'll just see differnet adaptations. Like, you have metal and techno and industrial and jazz and hip-hop and I think they'll always just merge like the whole techno-ambient thing. First it was hardcore techno, then it was ambient, now it's slow it sort of goes in a big cycle it always stays in that same concept a few elements change and the speed changes but whatever that's probably all it always sort of mutates within itself music just the sounds change but the song is still a song, you still need a groove and a chorus no matter what kind of music you do. [ BB/BL @ da phones 11/94 ] ----------------------L - i - N - E ----- N - o - i - Z ---------------------- File - # From: C.McLean-Campbell HEAVY DUTY C.McLean-Campbell Series Editor: Peaches Copyright 1994 Toaster Books. All Rights Reserved. CHAPTER FIVE. Beejay stuck the logic-probe back into it's position in the pouch and shoved it back inside his jacket. He was a hi-tec boy scout; he always carried a little toolkit with him because he was always prepared. The Project demanded both improvisation and opportunity. A toolkit was handy. You could never be sure when you might need it. He'd recovered two CPU boards from the recycling skip at the back of Fat Mike's workshop. The first one he found was an ancient 586. He had lots of those boards and, although they were old, they still did the business as long as you fitted an optical converter chip. Still, the second one was an old 886, and that was a real find. The 586's and 686's were piling up in The Project and he worried about the power requirements. Each of those boards added to the power supply mountain he was scaling, so the 886 would make a big difference. One 886 was equal to ten thousand 586's. Beejay worked out a power demand curve in his head and then checked it on the portable hanging from a string around his neck. He was right. He needed to position the boards as close together as possible, tight as sardines, and then link them with more optical wire. He stopped thinking for a second and allowed his mind to become empty. He was practising control, calming the rush of ideas that surged inside his head. It was important to try and slow down a little and let the rest of the world catch up every so often. Recently, he had become aware that his pedestrian friends at school didn't share his interest in electronics. Few of them even understood how electricity was produced. Last Friday two guys had even told him that the Moon was bigger than the Earth! School was boring enough. Guys like that didn't help. So he always skipped Monday morning. Monday was also the best day to search the skip, particularly after a busy week in the workshop. Mike Wade's electronic service shop was down a narrow stairwell below a branch of the Yardies fast food chain and behind the Kimitz terminal at Newstation Square. Beejay had a deal with Fat Mike: he came in every Monday morning and re-wrote the defaults on any of the VR equipment that might have been wiped during the repair work. Having Beejay write the softs and handling codes meant that Fat Mike didn't have to send the units back to the original manufacturer who charged a hefty fee. Technically only Fat Mike was breaking the law using an un-licensed operator to write softs and handling, because Beejay was only twelve years old. Fat Mike wasn't too phased by that prospect. He was, he felt, protecting the consumer from greedy corporations. Okay so he made money out of it and it was dodgy, but Fat Mike was a nice guy. Even Beejay knew he was a nice guy sending a quarter of his annual profits to The Vogel Foundation. He pushed the boards into his Pale Horse backpack and stuck his head round the corner of the shop front. With little success Fat Mike was trying to explain the VR controls on a pair of shades to an elderly lady who wore her hair blue. He winked at Beejay to let him know he'd seen him and Beejay ducked back into the workshop. He waited beside Mike's desk. Across the room Mirima was working on the insides of a large industrial laser. At her side was a reel of optical wire. Beejay coveted it. Sensing his stare she glanced up and gave him a smile. Beejay indicated the reel and raised his eyebrows. Mirima tossed it across to him and he quickly stuffed it inside his jacket. He plonked the backpack on the desk with the boards sticking out. "More boards small scientist? What you want with that shit?" said Mirima. Beejay shrugged, Mirima often hung around the workshop, using the facilities and occasionally fixing things for Fat Mike. She was cute but she was major-tough. A rigger for the Houses, she was one of the few people that didn't treat him like shit, that didn't think he was a deevo. Beejay sometimes wondered what really went on between the Rhodes boy-girl and Fat Mike, but he never pursued it - it wasn't a good idea to mess with the Houses. "Just messin' around Mirima," he said trying to sound uninterested. "You think I copy that bullshit, small scientist? Non-optimal, defo. Small company operations I think?" Mirima laughed for a second, and before Beejay could protest, she returned to her work. Beejay pulled the Text discman from his pocket and re-read chapter seventeen of 'The Prince' while he waited for Mike to pay him. It was his favourite chapter, "Cruelty and compassion; whether it is better to be loved than feared, or the reverse." He had read it more times than he could remember, including the original Italian which appeared on the same disk. Occasionally he let his attention slip to steal a glance at Mirima's long legs sticking out under the bench. Suddenly Mirima swore and threw the logic probe down. At first Beejay had thought she'd spotted him leering at her, then realised she was swearing at the guts of the laser on the bench. "Problem?" he offered without looking up from the text. "Logic section is gone, and no company operations in that field. Eight hundred ecus for a new board. Shit!" Company operations was HouseSpeak for theft. She meant she couldn't thieve it any cheaper than she could buy it. The Houses had earned a reputation for efficiency. Beejay always suspected that somewhere someone was running a spreadsheet model for them and handing out targets for each year. He smiled at the thought of the House bosses discussing the poor performance from the extortion section or the massage parlours. But it was rational. He admired anything rational. "I know that type, Hyundai 480?" He asked. Mirima nodded. BeeJay reached into his pocket for a half-eaten Yorkie Bar and bit off two squares. Chewing the chocolate into a smooth paste, he kept talking. "Spits out thirty-eight watts of plasma and tapers the pulse to stop the tip of the laser melting or the insides overheating." He was reciting from the manual, almost. "I can fix it." Mirima laughed at him."Small scientist, I can fix it too, but I need eight hundred ecus, man." Beejay shook his head. He had half expected her to mention operational budgets. "No you don't," he said, still reading while he spoke. A problem had to take more than half a minute's thought before he considered it important enough to deserve all his attention." The electro- magnetic-pulse backwashes into the board and eventually the connections get zapped. It's a design fault, that's why they deleted the model. All I need to do is rewire the connections with ten ecus worth of gold wire and you're back in business." Mirima pushed her stool back from the work bench. "I copy that straight? You rewire eight thousand connections for ten ecus. How you do that Beejay? By hand? In an afternoon?" "Well, if you happen to have an old Wang matrix-wirer at home then it does only take an afternoon. The machine code can be a bitch to write, but after that, it does the business." Mirima raised both eyebrows and stared at him wide eyed. "Where you get a thing like that small scientist?" "Where you get a thing like that Mirima?" he said pointing to the laser. She laughed. "Okay, what's the deal?" "No deal, I'll do it as a favour. Unless you happen to have access to the Electric Company?" Mirima shook her head and frowned. "You wasting your time there man. No back doors into Electric company. Hey, you bust the Electric Company, we'll make a deal with you." Beejay shrugged. "Life's a beach. No problem. If you want me to do it leave it at my house, I can't carry that on the bike. Maybe you can owe me a favour." "Beejay, you're playing my tune. It's a deal." She held out a hand for him to slap. Fat Mike came in just as they'd finished and drew them both a concerned, suspicious look, before handing Beejay his money. Beejay's little half-sister Victoria was sitting on the doorstep when he cycled into the drive. He was careful to put the bike in the hall first. Nothing was safe in Coretown if it wasn't welded down. Coretown was the most easterly section of Hacinohe II and the least desirable since most of the industrial activity had grown up around the local FBR generator and the THORP. Beejay's bike had taken a lot of saving. The local hoods, the McKinlay family, tormented him over the bike, trying to bust a wheel whenever he went past their hang out near the 'eight-til-late' on the corner of the high street. He was the local deevo; deviant. Because he could read and because he was smart, he was therefore an alien and the object of their loathing. Mirima's laser was already in the kitchen, with a Rhodes streamer tied to the handle of the case. An envelope with forty ecus was taped to the side of the case. Beejay took the notes out, crumpled the envelope and threw it into the bin. Victoria was seven years old and everyone called her Biskits. Her rain suit jacket was open and dirty and she was sucking her thumb. She wore a true-colour holograph of a Swallowtail butterfly, Papilio machaon, around her neck. There were bits of leaves and twigs in her straight blonde hair and she flashed a big smile when she spotted him. She kept her thumb firmly clamped in her mouth, even when she spoke. On her lap were two intact boards, one was another 586 and the other was crap - just four meg of ram which wasn't worth the power drain. She stood up and held out the boards to him. Beejay made her keep still while he removed the rubbish from her hair. She kept the boards held out. "Are these the right kind? Will they fit The Project?" she asked, preparing for disappointment. He took the boards from her and crouched down to show her the serial numbers on the cpu chips. "This one is. See you have to look for this bit." "Good." said Biskits, although when she pronounced the 'g' of good her thumb got in the way and it came out soft. She was thoroughly pleased with herself. "What about the other one?" she asked. " Oh, it's okay. But you watch for the kind with those numbers, right?" She nodded. "Where did you find them?" he asked. "Not in the tip I hope?" Biskits shook her head vigorously. The McKinlay's sphere of influence included the tip. The last time Biskits was there they had thought it amusing to shove her into the rotting contents of a Yardies skip. "Oh no," she said quite emphatically," I don't go to the tip now. I got them from Michiko's granddad." "That's a good girl. You remember to stay away from the tip. Okay?" Biskits screwed up her face. "I know, Beejay. You tell me all the time. Don't go to the tip, don't go to the tip," she imitated him, sounding impatient. " Okay, okay. One other thing. Any accidents this morning?" Biskits closed her eyes and shook her head from side to side, rather offended that he should ask. "Nope." she said, perfunctorily. "Did they deliver the cylinders?" "Yup. And a nice Rhodes Girl left that case in the kitchen for you. And," she continued quickly after taking a big breath, "mom's pissed about Max. She says you've to change him back to being friendly." "Oh yeah?" asked BeeJay. "Yeah. She says he wouldn't order stuff from Tele-Mart and didn't switch the microwave on until she shouted at him. He's always nice to me." "Don't worry about it. I'll sort it out." She nodded, still sucking her thumb. She looked at his pocket and looked up at him. When he didn't do anything she looked at his pocket and looked at him again and grunted. The she broke into a big smile and her eyes sparkled, but her thumb stayed firmly in her mouth. Beejay pulled ten ecus from his pocket and gently closed her hand around them. "Puritan Sweets only. Okay? and zip up your jacket." Biskits took the money and ran off. In the front room the TV was on and Linda was fast asleep on the couch. Two hydrogen cylinders were propped against the wall where she had left them. She hadn't bothered to change out of the SNL work clothes, and Beejay's shades lay on her lap. He gently picked them up and slipped them on. It was the same old beach, same massive boomers, same suntanned guys with boards. He kicked the sand before flicking the icon down and killing the fantasy. It was "Hawaiian Holiday". Biskits was conceived in Hawaii. Beejay was sad for his mother, sad that she couldn't get over it. But he was angry at her too. He was angry at the way she just took it on the chin, and angry at the way she had lost all their money to Jack. Not lost. Given it to him. Beejay calmed himself, pushed his anger back into the darkness and concentrated on more positive activities. He took the laser and a chicken sandwich from the kitchen and went upstairs. Up in his room Linda had put three small packets, a mailing tube, the current issue of 'International Geological Survey' and some other mail on his bed. He considered the postmark on the mailing tube: it was Italian. He ripped it open and slid the laminated paper out. It was his degree in Italian from the University of Milan. He glanced down it to check his name was spelt correctly and then threw it amongst the others on top of the book case. The small packets each contained a single chip mounted on its service board and the technical data sheet. He knew what they were, so he left them to check out Max. 'Max' was the butchered remains of the old house system that he had attached to Utah-konica deck. "Max, what's the status on the Electric Company?" Beejay flipped the case open and pulled out the laser. It was a heavy brute of a thing, used in the building trade for everything from drilling small holes to punching out doorways. Max was silent. "Talk to me Max." "Oh yeah talk to you! You leave me here all day shuffling through a pile of crap, and then I have to endure all your mothers insults! Would you feel like talking?" Beejay had re-programmed Max to be unfriendly. He felt it was more honest. "Just hit me with the status asshole." Max sighed. "I'm still searching, but it's mostly shit. And I have a report from IGeoSat monitor." Max sounded clipped and mechanical sometimes because the chip had lost it's coating and the timbre control wobbled a bit. Beejay was searching through the network to find the Electric Company's accounts operation so he could adjust Linda's accounts. She had fallen behind with the payments and they had disconnected her. Beejay had taken the fuel cell out of the Inkoma to power the house up, since she hadn't been able to pay for the repair to its suspension system either. It wasn't as cheap as the electricity from the FBR, but at least they had power, and he'd connected the heat exchanger to the central heating system so they had heat too. From his bedroom window, Beejay could just see the 'eight-til-late' through a space between the THORP buildings. He dry-sniped a couple of distant figures with the laser propped on the window sill for a second. Three walls of the room were now clad in recycled computer hardware. The Project was gradually taking over his room. Beejay looked at the columns of angle-iron, optical cable and datastream converters that supported the embryonic super computer, and sighed. What he really needed was more time or more money. Or both. He knew he could do it. He knew he would do it. And once he was in there things would be different. Things would definitely be different. Pushing the unopened mail to one side he lay down on the bed and chewed at the sandwich. Staring at the ceiling, he thought of the schedule he'd set himself. The critical path analysis model was in the handset around his neck, but he didn't look at it. He ran it in his head instead. He could see all the intersections, all the bottlenecks the way a painter visualised a magnificent landscape. The numbers boiled as he adjusted the parameters, he hadn't expected to find an 886. That was a stroke of good luck. The 886 was a much faster processor: it would reduce the ETA by a factor of three. What he needed now was a real break. A real big break. He daydreamed about a large skip at the back of 'I Used To Be Massive's' store, filled with squeaky clean 886 boards. He dreamed of the ultimate find, a 1086 board complete with ceramic heat sink and on-board solid state laser. "Max give me the IGeoSat report." "What? Now?" "No, I'll wait till Christmas." Max was silent again. "Now! Max! Now!" " The Japanese trench's present rate of subduction is now seven point three two centimetres per year. This accounts for the increased activity >from Kozu shima volcano." Max stopped for a moment. The voice program was cyclic. "Do you want the present prediction on the cable stretch in Tokyo City?" Beejay sat up in instantly, dropping the sandwich. His heart raced, his head bulging with pressure; he was almost paralysed by anxiety. It couldn't be right! He searched for a rational reason to assume there had been a mistake, a sampling error, or some unknown technicality that had been overlooked. But it couldn't be wrong. The IGeoSat report was a learned journal subject to ruthless scientific scrutiny. It couldn't be wrong! Bastards! He could see the schedule collapsing into a million worthless pieces. Absent mindedly he shook his head and then said "No" impatiently, when Max produced the ready tone. With that amount of drift, the optical cable would loose its external sheath by the end of the week. The first internal cables would start to shred five days later, provided the movement of the Tokyo plate was linear. Of course, the calculations had to be made on that assumption, otherwise the matrix became unwieldy. But Beejay knew it definitely wasn't linear. Like the sun came up every morning, there just had to be twisting >from the coriolis effect of the Earth's orbit. He held his breath. He tried to visualise the matrix calculations for the planet's plate tectonics, hoping that somewhere, on the Eurasian plate perhaps, there would be a neutralising movement. But he couldn't. There were too many variables and he wasn't able to concentrate on such a large scale of matrix, not when he was tense. He reckoned there were three available satellite connections between now and next Monday, and four the following week. He looked around the room hoping for some inspiration. Something major had to be done or all this effort, two years work, would be completely wasted. He was desperate. What he needed right now were three 1086 boards. That was the only solution. He set his mind to creating a what-if list of where to obtain such expensive hardware without paying for it. He felt himself twitching nervously at the thought of taking a risk. He didn't like anything that wasn't a sure thing. A soft electronic pip jerked him from the thought. He glanced at his watch. He would have to go into BigWheeLand and reset the telephone account soon. But first he would add the new boards. And then he would calculate the course of action that involved the least risk possible. ----------------------L - i - N - E ----- N - o - i - Z ---------------------- File - $ From: ae687@freenet.carleton.ca (Billy Biggs) Subject: Nibbles of Information **** NETCOM vs ALT.2600 ****************************************************** Supposedly, this is all over and taken care of... see alt.2600 for more details... This message has been sent out to people who have posted messages to alt.2600: ---------- Forwarded message begins here ---------- Return-path: X-Andrew-Authenticated-as: 0;andrew.cmu.edu;Network-Mail Received: from po5.andrew.cmu.edu via trymail ID ; Mon, 12 Dec 1994 18:08:47 -0500 (EST) Received: from netcom10.netcom.com (netcom10.netcom.com [192.100.81.120]) by po5.andrew.cmu.edu (8.6.9/8.6.9) with ESMTP id SAA02786; Mon, 12 Dec 1994 18:08:34 -0500 Received: by netcom10.netcom.com (8.6.9/Netcom) id OAA06163; Mon, 12 Dec 1994 14:41:22 -0800 Date: Mon, 12 Dec 1994 14:41:22 -0800 Message-Id: <199412122241.OAA06163@netcom10.netcom.com> To: postmaster@andrew.cmu.edu, postmaster@cmu.edu, dscw+@andrew.cmu.edu, cert@cert.org Subject: IMPORTANT: Post from "dscw+@andrew.cmu.edu" on deviant newsgroup From: ghoast@gnu.ai.mit.edu (Cracker Buster) Reply-To: ghoast@gnu.ai.mit.edu If you are not aware of the nature of the group alt.2600, I will explain it. It is a hacker/cracker newsgroup, containing many illegal messages. A great deal of its posters ask questions about or give advice on compromising system security, even that of the system they are on. Phone "phreaking" is freely discussed, and they explain to each other how to cheat the long distance telephone carriers. Pirate ftp and fsp sites are often traded by these people, and you should verify that one has not been set up on your system, and that the user does not have pirated software in his directory. Such could get your entire site shut down. Other verified topics that people explain how to do and admit to doing are disrupting irc, spamming, mailbombing, shoplifting, disrupting public transportation, and similar dangerous and illegal mischief. This automated message is sent for two reasons: 1) To alert you of a potential threat to your system's security, in the cases of users asking being told how to attempt to exploit security vulnerabilities. Also, the poster may be using a stolen account. 2) To alert you that there are crackers on your machine. The account used to post from may not be legitimate, or may be stolen (it is _extremely_ common with alt.2600 posters to use fraudulently obtained accounts). Or, a post of its nature may likely be a violation of terms of a membership agreement. And, the user making this post may be preparing to break into yours or another system, if they have not done so already. It is suggested that you keep a close eye on users who have posted to alt.2600, and to inspect their files and email if the posting warrants such and you can legally do so. All headers and complete text of original message follow: *************************************************************************** [ Place message here... ] [ So, watch out the next time you try to post to a "deviant" newsgroup.. :) ] **** ZiPPiE ****************************************************************** Article: 167 of alt.culture.zippies From: cubensis@well.sf.ca.us (John Bagby) Newsgroups: alt.culture.zippies Subject: Zippy is as Zippy does The following is excerpted from a pamphlet handed out by the Pronoia Tour this past summer. No names or egos are included, to illustrate the intentions of those writing about the culture. --- ARE YOU A ZIPPY? Zippies are not simply ravers, hip-hoppers, hippies, cyberpunks, beats, or cooperative anarchists. The Zippy phenomenon is characterized by a cross-pollination of these subcultures and more. GLOSSARY OF TERMS ZIPPY- (Zen Inspired Pronoia Professional) Anyone who strives for balance between the brain's hemispheres-- the creative side, which understands that vision, individuality, spontaneity, flexibility and open-mindedness are crucial to achieve anything on the spiritual plane; and the pragmatic side, which understands that long-term organization, consistency and tenacity are necessary to achieve anything on the material plan. *PRONOIA- (Opposite of paranoia) The sneaking suspicion that people are conspiring behind your back to help you, and you them. Symptoms include attacks of optimism and good will. MEGATRIPOLIS- (The future perfect state) Trendsetting and much-imitated London club and Zippy hangout that features a wide variety of ambient and techno musics, along with the "parallel university", workshops, independent merchant stalls, bodypainting and message. PARALLEL UNIVERSITY- A series of raps and interactive lectures by prominent philosophers, fringe scientists, artists and activists set to ambient soundscapes; a key component to the "setting" of a technoshamanic trip. SHAMANARCHY- A spiritual model set in place so that anarchy naturally flows into an organic shape; a background for the chaos of anarchy to grow into, otherwise it just grows all over the place as rigid structures dissolve. ----- "So are we dealing with a commercial interloper, or do these folk have something interesting to say... something interesting to do... and a point? Is this just more hype, clever marketing dressing up the same 'ol? Even worse, are we being sold what we already have? Firstly, cultural pioneers or flavor of the month? The former, with no shadow of a doubt. _evolution_ and _Encyclopaedia Psychedelica_ [parent publications of the Zippy meme] have been the backbone and central nervous system of the British House underground since it began-- and the psychedelic neo-pagan culture before it. I am extremely wary of the notion of authenticity-- after all, who's job is it to decide what is fake and what is real? In my opinion, authority must ultimately rest with the individual, not some self-elected clique or cultural elite. But my opinion is: this is the real shit... for the love of it, for global change. Don't dismiss them until you've met them. The Pronoia tour represents an opportunity for catalyzing our desires to make a difference under a global banner. Don't be distracted by the fact that the Zippies come from Britain. This is merely a convenient, organic focal point from which a worldwide net is coalescing. You are no less authentic and real a Zippy if you are American, Balinese or Inuit Eskimo-- don't let anyone else tell you otherwise. Sure, soon the Zippy word will be tired- just as the rave word is tired now. But the rave word served its purpose, let's use the Zippy hype in the same way.. and after all, isn't what we are experiencing just a little stronger than words?" ------- "The great thing about the whole scene is that it's really a big melting pot where everybody can come together and drop their style and cultural differences and become Zippies for a while. It's a key cultural thing that's happening there. I don't know why it's a rave atmosphere, but something had to come along that allowed everybody to feel the same. Now we're coming out of being able to define "rave". We're reassuming our identities again, only within a raver format. I mean, now, everybody's getting back to their roots. You're getting reggae-house, folk-house, and lots more, but you've still got the identification, A hardcore type feels like a raver, standing next to a reggae type, who feels like a raver. There's this common feeling that we're all in this together. We've also tried to put emphasis on what we call the "parallel university". Rather than open up in the afternoons with music, we like to offer various info booths, workshops, philosophers, etcetera, and build up to the rave in the evening. That way, you've created a community spirit. Half the people come just for the rave part, come at 11p.m. to start dancing. In actual fact, they're coming for that feeling of belonging, the community spirit which was created among the other half who came early and participated in all the other things. That way, you've got a community that exercises a certain influence on the people in attendance. Quite different than everyone arriving at 11 and starting to dance, with nobody knowing anybody. We're just a nexus for different people to meet, with the common purpose to have fun. You then can move on from there, once you've been Zippified. It's really hard to pinpoint cause and effect. But, you know it's happening, we saw it in the 60's. The aristocrat children joined the hippies because that was the most fun. They gave up the materialist alienation. The millionaire who's all locked away "secure" in a compound, and dying of heart attacks and cancer and schizophrenia and all the rest of it, he's never going to be healthy and happy if he doesn't start sharing. Let a rave happen! You have to trust that people are intelligent and sensitive, and in the final analysis will wake up. The 60's hippy type turned out to be the most resistant of everybody, actually. What I've said to them, and what I think they finally remember, is that as hippies we started off the change the planet. Before the rave phenomenon came along, we were down to our last patch of ground, holding on like grim death for the last little free field available for a festival, and we had forgotten what our original purpose was. We just wanted to survive, keep as quiet as possible, as low a profile as possible so we wouldn't be bumped off our last refuge. WRONG! What's happening with the Zippies is millions of reinforcements are coming over the hills, tens of millions. The reinforcements we've been prying for during the last 25 years... here they come! Accept them for what they are. Now we can win! This is the middle class, this is the techno people, this is the sons and daughters of the ruling class. This is what we asked for, so let's not look a gift horse in the mouth. The ravers will get lost if they don't have the hippy wisdom. How are you going to get urban youth out into the country unless you offer what they think they want? They get out there to dance and then -- lo! they discover cacti, then they discover Native American culture, and so on... They're not going to discover these things unless there is something to get them out of the cities. This isn't about mega-names, or mega-bucks-- it's just people. It's not just a young thing. In England, people are dancing >from 14 to 80. We're no ageist, sexist, racist, or any such thing. The first step is getting there to dance, to the shamanic tribal dance." [ So, what do you think of Zippie?? Send me your opinions and I'll do an ] [ issue on it... ] :<:>:<:>:<:>:<:>:<:>:<:>:<:>:<:>:<:>:<:>:<:>:<:><:>:<:>:<:>:<:>:<:>:<:>:<:>: From: joshua@server.dmccorp.com (Joshua Lellis) CD review. Nirvana Unplugged. Bitching Album! I loved it. 1 About A Girl - Song originally released on their Bleach album. Ok, if you like acoustics, but the vocals are drowned out by the acoustic guitars. 2 Come As You Are - I liked the Nevermind version better. Only cause the solo in it seems like a time gap, because the acoustics. 3 Jesus Doesn't Want Me For A Sunbeam - One of my newest favorite songs. Accordian in the background, KC singing in the foreground. Awesome 4 The Man Who Sold the World - A David Bowie Song, but good nevertheless. It's made the hair on the back of my neck stand up (don't know if that's a good thing though. ) 5 Pennyroyal Tea - I've heard this is on In Utero. KC did this one all by himself. 6 Dumb - This is definately on In Utero. Just as good, if not better. 7 Polly - On Nevermind, but not that much of a dif between the two. 8 On A Plain - It seemed to go on forever..... 9 Something In the Way - Ok. I guess. 10 Plateau - Really wierd sounding song, have to be half asleep to enjoy it. 11 Oh Me - Oh no. 12 Lake Of Fire - COOL! This was a Meat Puppets song, according to KC. If you buy the cd, this is the one you've got to listen to first. 13 All Apologies - Yeah, we've heard this on the radio. Kinda gets old real quick. 14 Where Did You Sleep Last Night - Cool. Gotta listen to it a few times to understand the lyrics, but cool after that. All in all a good buy. -- The sky bleeds blood at night when no Joshua Lellis - Jacob Latter - Stauf one is awake and listening. Morning is joshua@server.dmccorp.com the time for the imp to rest, and Stauf @ CE (telnet 128.8.11.201 5000) midday ends the peacefulness when man realizes he will die. -- JL ()()()()( CD REVIEWS: )(by)(billy)(biggs)()()()()()()()()()()()()()()()()()()( T: Millenium L: 10 tracks : 62:53 D: 1994 A: Front Line Assembly Best Track: [1] Vigilante BB: The latest FLA adds tons of guitars (metal) and even a rap track. Much different, but still retains alot of their old style. See the interview for more info. I'd say it's a good buy, but I was much content with their older works. ---- 7/10 ------------------------------------------------------------------------------ --<----<----<----<----L - I - N - e ----- N - o - i - Z ---->---->---->---->-- ------------------------------------------------------------------------------ >> Scheduled 4 upcomming issues: << << Zippies?!? (Send me your opinions!!!) >> >> Heavy Duty Chapter 6 << Submit! Submit! Submit! --- We need submissions!! --- Submit! Submit! Submit! END LINE_NOIZ.24