music
record reviews
ALBUMS
ROCK
Luna The Days Of Our NlCli’TIS (Beggars
"-El' :31'121: :32, Luna \‘Jlll never be the sul))ect of a major lahe. biddinn \'.ar They Will probably never have a number one hit sinnle They \.'.ril afrrtest certainly never headline the SEC C For these reasons, and many mere, Dean \.\.’ar‘eham's quartet are to he cher'rsher‘l
Their Eates! Vixene-tr‘acker rs so typrcaliy them the fi‘artrle yt‘tal attar k, swirfi'izt -J;ttli.ll‘s;t'll)(}8 rising :nto a str‘ii‘irt ll"t"lS{‘, 1'1, the oddest of lyrics
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propens-t. t-r ',."i-.' i..t...-\e.rest of tater \r tin I; H; i :7I‘c ,. 'i-, ; 1f ‘f'ry lrl Jt‘l,\|" -. \i/sts )‘..t(teilrt. C' ’.':r‘.e i'i-L‘Y' t‘a'rze is tuna they live
‘80
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Arab Strap
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Barr Adamson
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space-fillers and longer compositions, like the brilliant Moss Side Story, aren't touched upon. Still, thrs'is a line starting pomt for a descent into the murky mind of Barry. llvlF)
Pram
Telemetric Melodies (Domino) i=2; -.<=: Birmingham's Pram have always threatened to make a real meaty reCOrd. but on the basis of Telemetric Melodies they still haven't made good on their word. A compilation of pre- 1998 material With a running time of Just over 30 minutes, it feels lazy and half-realised. They've always positioned themselves as the experimental band that don't challenge pop fans and that’s their downfall squirming between two stools Their exploration of weird rhythms and tree trumpet blare always comes trashing to earth under the weight of their kitsch-riddled sensibilities. (OK)
POP
Karl Bartos
Electric Music (Spundjam) -.-='-:
Bartos was a member of Krat'twerk long after the glorious, peaked ecstaSies of their debut avant-trilogy — Kraftwerk, Krt'iftwerk 2 and Ra/fAnd Florian He turned up in 1975, in time for Radioa'xtii/itat and, just in case that fact slips your mrnd, he's only done and used his picture from Trans Europa Express on the cover of Electric Music. Much truiripeted as Kraftwerk discover guitars, this inept solo album was born of Bartos‘ work with ElectrOnic and boy does it show. Cheesrly cheap pop wrth a level of lyrical inaiiity that makes The Lightning Seeds seem like Leonard Cohen (DK)
ELECTRONIC
Atari Teenage Riot 60 Second Wipe ut (Digitar Hal 357113? ':§:' '25:“ The third full-length outing from Berlin’s righteousin raging electro- punks is more of the same gibberinc; Gabba-beats and (ranked, bleeding ()urtar ftrxz, This mono-mania always marks out true artistry from mere cultural toe-dipping There's such an air of dumb teen fun in songs like Revolution Action' and 'Death Of A President DIY' that 60 Second lA/ipe Orr! feels es-rery bit as caltui'aliy significant as the first Ritlllt)":i‘-S album Enrtral copies tome ‘.‘.’l’.ll a bonus ll‘.’(’ disc that dives even the :‘thS's
Mad for it: Arab Strap
ELECTRONlC Future Pilot AKA Future Pilot AKA vs A Galaxy of Sound
One constellation under a groove: Future Pilot AKA
(Sulpher Records)
if“. e. i g ‘ ' ‘Ninc' .
An astounding hour and a half, rich in modulated tone and riven textures,
with assured thought and vision from Glasgow based innovator Future Pilot
AKA (Sushil Dade).
Collaborative experimentation is the key to this album which sees Dade, former bassist with the Soup Dragons, teaming up with a galaxy of artists. Some are stars, others are only known to NME anoraks, while a third group are completely obscure. For instance. Cornershop’s swirling, dubby breakbeat mantra ’Teri Mitti Bani' follows a deep groove featuring a group of New Delhi schoolchildren singing a protest song caught by Dade’s Walkman. The Pastels make an apperance as does Orange Juice founder James Kirk. exsFall member Brix Smith, and flipped out electronica guru Scanner, whose label Sulpher is releasing this.
With all these diverse characters involved it could have become a bit disjointed, but all the work is given a trip on the Future Pilot jumbo, so there is distinct cohesion. Much of it seems heavily influenced by Sabres Of Paradise work circa Haunted Dancehall, so it’s fitting that an Andrew Weatherall Two Lone Swordsmen track opens the album. Essential listening for any musical adventurer. (Rory Weller)
legendary ‘K.<l< Out The larrrs' a run for its money iii terms of sheer energy. (DK)
Glasgow Gangster Funk
Corre On Die Young {independientel Double deep, bass driven <l\.'d fun); house with P-funk samples and west coast (LA not Lanark) sleazy rap Snatches from. iClll‘C’i Glasgow geexer C~ary Giii‘oy Top (ass 4/41 dance floor thurizpers with more than .: passrr‘io nod :;- the Freer '1 disco, lt-Zi-tlSt" fraternity The szh-ryle 'DCO‘JET Eeeya' .'."'i.:h has been nett-i‘i: the remix treatment from Pete Heiler arc: Trinal's
Gpcrgfk T isn’t or here, to! 'he new,
and stittlitly fess qurOnt track ‘Eiiid Another Ho' is Theres also a ten inane li'rrne ‘t\’e'sl:-sti-.'|e Castleinrlk tales booklet by Gilroy's wee bio too Eat, down and dzrty -- top class stuff tRW‘)
Various
Seb Fontaine Presents Prototype (BOX‘EO RECOTCS) "3" 331‘ 'Ft'
Mix CED-s are all too often hit and miss affairs, vnth one or two l)l(] names to pull in the punters and fi!lers to pan out the gaps This is not the case l‘ier'e Resident at liverpool supert Iub Cream, Seb Fontarne takes a s-eletteoi‘ of flee-p and funky house t'at ant: Slt’)‘.‘;‘% ')Ti the (hunky heats of his t'adernarl; sound. His l‘llettft is smooth and seamless and the selections ll‘. .uuriv; tracks from Thee it’laddkatt Courtship,
X-Press and Dawntreader are inspired. A duality item to please stalwarts and net‘itr‘rners alzke AER)
HIP HOP Various
Rtifr’house: : hits Volume One { RUlll‘OuSel
Greatest hits' is a mirth abused term these days Cant a record lahe , some chart sut :ess and a hankering for a brooer bank balance) Perfect And if
-, it. tan -_:-.-‘. ha, ‘. itamr'taliy laZV ost .r\-.“ :'t‘, re'ni), then a'l the better
Sat h is the tase here, .'.C".-;‘re the funky risotn-(tannsterisrns of early Cypress Hlli .gitd the k'io'wind «whit-err ralism of The Eirztees nestles alririqside hluriders like John Fortes tsJeiia- nsp-red 'hi'rnety
Nrne' ~1 "e rrzi
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Niiyerhbe" Rec-er .ortxes :n the form of Nas's 'l-‘antiii‘e' and The {joats' bruta;
(if‘:(ll!‘1('7l(lttl"‘.’ 'T‘l.’;}!t:li Arnerrt'an' last
don't .'“-(‘l‘-"’,‘" ‘iu'tigi' try Kriss Kross
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COUNTRY
Various
The Songs Of Kinky Freedman \Kmkajcuy A music itti.::;.!e1:‘-therein), the Kinkstah The zestern s:niter turned
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,.:-_:ars 271d )lli‘lh‘tr. riolrnes The i“'1l\l!‘llilt:3 mic/hey \'..".nse ‘ound their
i. to has! ‘.l:l'.' .:!:.: rudder} the ~..t rid
band, The Texas Jew:
-.'.r!h Brh Dylan, .'\.';i Tic-2‘1 'ren. tc‘ir