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KAISER CHIEFS Employment (Brljfll’luffl 0...
Ah, what a privilege to be in the company of a band poised on the cusp of great things. Having supported Franz Ferdinand and scored acclaim from all corners of the media. Kaiser Chiefs unleash their inventive, energetic first album on a public drooling with anticipation. The Leeds quintet, while unafraid to wear their influences on their coat lapels, infuse their punk. ska. Britpop and new wave borrowings with angular electro hooks and infectious melodies. This winning blend is exemplified by the singles ‘l Predict a Riot' (inevitably bringing to mind the Jam‘s ‘Eton Rifles‘)
and the terrific ‘Oh My God.‘ (imagine a great
(Allan Radcliffe)
MOR
TEARS FOR FEARS Closest Thing to Heaven
(Gut) COO
'Wake up. your time is nearly over.‘ Tears For Fears start their first album Since 1989 WIN) ‘no mOre the supernoxa'. Qtiite POSSIblt the
experience (I(3ll\é?(f message that Roland Orxahal and Curt Smith have wanted to deliver to Oasis for the last few \ears. that harefaced Beatles rip offs get you nowhere in the end. And they should Kll()\‘.. Ullft‘.‘ét$|t)l\, though. they'xe also managed to pull togetne.r a few nmnmnts that rank (thllQSldt‘ the le", hest of their non era-def-nrng yet still daft“. ioxeaole career. The title track and ‘\.".r‘o Killed Tangerine are held and stunt radio songs — listen if on). to numel at JUSI hov. desperately these mo rr‘er‘. an! to find a Malkoxichesgue
ALLCDSWEREWERE
portal into Paul McCartney 's head. (Dawd Pollock:
INDIL' ROCK IDLEWILD
Warnings/Promises iParlophoner 0...
As the sands of alternative rock s‘hift (:ontrarily among this week's post-punk peecadrllos. IdIeWild's
meeting of minds between Madness and the Clash)
llllltSlCéll foundations remain uneorannly store. The earoiising clash of crashing guitars and the singing harmonies rerriain faxourahly constant features; if eosrnir: reinvention is exper:ted. well, you're just looking in the wrong place. Building and improving on prevrous recordings, ll/ar'nrngs Prom/ses rs fuller, deeper and more emphatic; like ldle‘rril’i in Technicolor. There's the oungian splendoer of 'V‘Jeleoine Home or Disconnected. the herom: holsh of ‘Not Just Sometimes But
t ' l A '15 i \It
VARIOUS
We Can Work it Out: Essential Covers & Cookies of the Beafles
llar'rller;:;i 0..
l'irs latest release from retro \ ornpilatioh t‘ruuarler‘. llar'nless takes a taunt, trip attross some funk ltltltfll ll '.‘.’(,‘ll llrttfilitll, soul terrain. \‘v’hile f at» l our purists are trust polishing their faxourite knees in seaieh of some shr>u|deililades less righteous fans are to find rewards of two
sorts.
The first is fresh - an intriguing reggae lllfl(,‘(ll(3(l "Norwegian Wood' and gunk,
Bi ssa Nova-fuelled 'Day ‘lrippei'. lhe second reward is more familiar: Ike and lina's 'Corne Together" is as gruff and hallsy as you rnrght ‘.Vl.‘3ll. and it's (toinforting to know that alter all this time Al Green still wants to hold your hand. Harmless in, name. this is harmless by nature and destined to he found slipping into your suheonsCious VIII every cafe worth its Sunday bruneh very
(Jules Grahami
JAZZ THE KLEZMATICS
Brother Moses Smote the Water Piranha, GO.
If a headron collision oet ween Jen-rush Kle/ ner and Afro—
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plerit. it o'r‘r" tr: it. an t .l‘li‘lf‘.‘.ll‘i"} .'1’|l.i"t< is; ‘ " t‘t‘Y" partiesto furs. ", .‘.‘llii" Nelsin literalil, i‘ll‘f")'lit‘fx flir- .>li.ilio'at:wr‘ 'lt' s {nth {Stark and .lewrsh. ‘ll‘itjfr .ri ffr'l‘li'fi. .i:. ,‘J‘il as f lltlll‘;§", .lltrl “l‘rllili‘lf t“. it‘i‘ )li‘tll (‘iospt-l ‘Ltfltli‘l Mahilni tlr'ii‘kson Heir fl’fi' f 'rw l". Berlin lTl‘,fl‘.l)t )lh i)l \.'Jl‘at"~. the l‘t‘llllllllt‘tf ton on i‘orrvt‘t’t .1 spirited "Ultlllltliltlll of life. freedom and inspiration 'Kenn‘, Mathiesrrni
.JAX.’
GRAEME SCOTT Say Hello
iOwn l ahelr OOO
Graeme Srott's self ssued debut album (:onfirrns the high regard that the young Glasgow hased guitarist has already earned on the Seottish Ja/x seene. llis deft toueh and fluid. resourceful lfllt)l<)u'l‘n'll|()fl7) are supported l); an exeellent trio
SAY IIllIO
eomprrsing pianist and organist Paul Harrison, bassist Aidan O'Donnell and drummer Stuart Ritchie. He has opted for a full (IISC of his own NC“ crafted eorripositions rather than include SOrriethrng more familiar from the
REVIEWED ON A SYSTEM SUPPLIED AND INSTALLED BY LOUD 8: CLEAR
72 THE LIST 3—1 7 Mar 203:3