Music Records ,-
ALSO RELEASED REISSUES
Pulp This (5 Hardcore/ His 77' Hers/ Different C/ass (Universal) A triple bill of sardonic genius from Jarvrs. prime time to reVIs‘it their magic. reminding us why Pulp were in fact the greatest band of the 90s
The Delmontes Carousel (L TM) Predating the whole 086 phenomenon by several years this overlooked Scottish outfit made their name with a Similar indie jangle but missed the wave. This retrospective gathers together the best of their output.
REM And / Feel F/ne . . . The Best of the IRS Years 1982-1987 (Ell/ll) Automatic for the People may have sent them global but it was this work drawn from their first four albums that cemented their reputation as a truly unique musical force.
Heaven 17 The Luxury Gap/ How Men Are/ Penthouse and Pavement (EMI) Much of the electro pop from the early the 808 has dated but these three albums still have their highpoints: 'Crushed by the Wheels of Industry'. ‘Fascist Groove Thang' and of course ‘Temptation‘ among them.
The Associates/ Billy Mackenzie Wild and Lone/y/ Outernati'ona/ (EM/l The reissue of the duo‘s albums is complete with this. their final 1990 album and Billy's Balearic- tinged solo record from 1992.
The Beach Boys Pet Sounds (EMI) Hold on a minute. wasn't this just out again last year? Oh this is the definitive version with the 40th Anniversary DVD? Of course. silly me.
66 THE LIST 7—21 Sep 2006
regret "Sc'tie/la, Bah. 'Beylfll’l Ttl‘: HfJ'i/U' Tunes that appear gilLiCilHZJ't’1Ullllllll‘stlf,(1l first “Poll”: and Turnhlin". ‘Ain't Talkin‘V blossoiri .vith repeated listening. This is a rewarding conclusion to a rerviarkahle trilogy for modern times.
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FOLK POP
NINA NASTASIA On Leaving
(Fat Cat) 0...
As trite as comparisons may seem sometimes. we're going to go With one anyway. If this record were to be compared to something. it wouldn't be another piece of music but a piece of art. Imagine something painted on rich. tick creamy paper With lines delicately but definitely scratched out in fine pen and ink. capturing a scene. a snapshot. or a moment. Sometimes playful. often autumnal. always rnesmeric. Nina Nastasia has been deing this like no one else for four albums and seven years now and this, while more measured than its predecessors is no less evocative. She is a Singular force careering along atop a sea of singersongwrrterly sludge. Immense. (Mark Robertson)
ELEC TRONICA CASSIUS 15 Again (Virgin) 00.0
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They landed With us in the jet stream caused by Daft Punk's glorious landing in 1997 but Phillippe Zdar and Hubert Boom-Bass have always been smarter than the average bears when it came to the dancetloor. Despite cameos from
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‘ Roots, Missy Elliott, - Man and Outkast
The bling may ring but Philadelphia’s The Roots can feel the dark clouds forming on the horizon and no amount of cristal can wash the
foreboding feeling away. The thing is, this still sounds absolutely
tremendous. Master beatsmith ?uestlove drives his explosive,
expansive band on Game Theory (Def Jam) .0000 propelling jams round snippets of everything from Radiohead to the Ohio Players. They i have always been musically equipped, but these dark overtones give
The Roots’ music a spooky, foreboding atmosphere that is weirdly
l electric while Black Thought leads the way with worldly conscious, though not selfconscious rhymes. The Roots remain at that tight,
sparsely populated point on the map where introspection and
incandescence intersect, where hip hop is equally atmospheric and
innovative but still goddamn funky. If Speakerboxxx/The Love Below suggested that Outkast were ahead
of the curve when it came to hip hop, Idlewild (LaFace) 00.
suggests they’ve shot off the track and somehow ended up back to the
3 future on the set of their own movie. Idlewild is as sprawling, confident
and glossy as ever. While Big Boi still specialises in his particular kind of thick soul, André 3000 seems content to mash up the past - the big band swing of Cab Calloway is fed through a hungry Roland 606 with intriguing results - in a similar vein to their patchy, if highly enjoyany predecessor — Idlewild smells like a group attempting to cover too many bases. This is high concept, high gloss; as a soundtrack album, it’s pretty fine, but as an Outkast album, it’s less than perfect.
An album sporting the words ‘Wu Tang Clan member’ on the cover hasn’t been a guarantee of quality (or sales) for some time now. Method Man, however, despite his fondness for the sticky green stuff, has always been the most commercially bankable bet of the Shaolin disciples. 4:21 . . .The Day After (Def Jam) .00 still refuses to pay much little attention to anything much past the ashtray at the end of the
j couch, Method Man’s distinctive drawl is given flight from beats by Eric ? Sermon and Wu head honcho The RZA but for too much of this he’s
treading over familiar, cliched ground.
Similarly, a new album by Missy Elliott seems less like the event it used to be, partly due to their frequency and consistency of late. This meaty greatest hits package Respect M.E. (Atlantic) 0000
reminds us
; that ever since she dropped ‘The Rain’ back in 1997 the cream of her l hip hop pop is for the most part truly special. Though what she’s doing l on a bloody horse on the album cover remains a mystery. Equestrian é hip hop? Neigh chance. (Mark Robertson)
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