This issue’s singles and downloads rundown begins not with a bang but a whimper. Babyshambles’ ‘The Blinding EP' (Regal) oo was set to be Britain’s most famous junkie's return to form. and, in parts. his talent still flickers through. Sadly it further confirms Docherty's muse departed him soon after he started Chuffing rocks.
It takes only half a minute of They Came From the Stars (I Saw Them)’s single ‘lt's Time' (Thisisnotanexit Records) O for the terrifying prospect to dawn upon the listener that this is what The Feeling would sound like if they were to overdose on Prozac. Better though are the effons of The Dykeenles. the angular melodies of ‘Waiting For Go' (Lavolta Records) on almost justifying the hype the band have aroused in Glasgow and beyond in recent months. De Rosa’s double A-side ‘Father's Eyes/Evelyn' Chemikal Underground) oooo sees both songs nervously taut and awkward. their production tying together all the loose ends. Matchsticks’ ‘Duvet' (One Records) 0000 sounds, in the best possible sense, like a theme tune from a German game show. possessing enough joyful hooks and playful shouting to fill half an album. Paul Napier on the other hand seems like he could do with a dose of whatever they were drinking. On ‘Anti-apotheosis' (RD) 00 it appears he has been robbing Elliott Smith's grave.
Aberdeenshire four-piece :( (Colonopenbracket) scund like the audio exploits of an emo kid having a particularly troubling time in a video arcade. Without the demented Gameboy sound effects, ‘First Blood' (Must Destroy) 00” would struggle to come second in a Fall Out Boy impersonation contest. but with them it becomes rather brilliant.
Nothing however can compare to The Pack’s ‘Vans' (Columbia) ooooo which gets Single of the Fortnight. Exponents of hip hop flavour of the month hyphy (similar to crunk but with an even stranger vocabulary), The Pack devote four minutes to waxing lyrical on their preferred brand of footwear. While it may come as news to skateboarding enthusiasts. they inform us that ‘only real niggaz wear Vans' over a track sounding like it was composed on a soviet era computer in deep space. complete with guest vocals from a gangsta Stephen Hawking. The result is one of the most puzzlineg addictive tracks of the year. (Miles Johnson)
creating a folk big band section and guitar
packs plenty of energy and punch. The 13— strong ensemble of yOung musicians is led
by pianist Harris Playfair.
and includes a brass
alongside their pipes. fiddle and flute.
They serve up a varied
selection of material in very enjoyable fashion. Eclectic is the
watchword here. taking in rock and funk guitar licks. jazz (one of the sets is made up of John Rae's ‘Easy Peezy' and Django Bates’ 'Yellow Hill‘). a reggified lilt to ‘The Happy One Step' set. and all manner of passing inflections. (wwwjunctionpool.com) (Kenny Mathieson)
WORLD
THE IDAN RAICHEL PROJECT The ldan Raichel Project (Cumbancha) O.
The brainchild of Israeli keyboardist and producer ldan Raichel. his Project sees a group of over 70 albums contribute to this one cross-genre record. Already a huge pop Success in his home cOuntry. Raichel seems to almost make a point of involving cross- cultural musicians and singers, with this album including Arab musicians alongside Yemenites. South Africans. Surinarnese and Ethiopian Jews who have settled in Israel. For all its boundary- breaking appeal. however, the record is soft pep in the extreme. with the exotic flavour of the Arabic chants and songs being SOmewhat dragged down by a glossy and flaccid production job. Possibly Raichel is Israel's own James Blunt. (David Pollock)
SKA
THE AMPHETAMEANIES Now! That's What I Call . . . The Amphetameanies (Flotsam 8 Jetsam)
COO
There are clearly not enough nonets around these days (in fact how bloody great a word is ‘nonet' anyway?) and the 'Meanies do things at their own pace
(leiSLirely) and in their own style (boisterous). Among their current fold are Mick from Belle and Sebastian and John from Datapanik and their alumni include Alex Kapranos (nee Huntley). who had a hand in writing a COuple of these tracks.
While Lily Allen gleefully pisses on the entire notion of ska currently this mob know their history. clearly holding the shuffling roots of the genre dear. This is a more than one- dimensional Trojan tribute however. with a clutch of vocalist on hand and enough brass to start a colliery band. theirs is a varied. potent brew.
It's the sense of humour combined with an ear for thunderous. war cry chorus and unashamedly. upbeat melody that carries them through their more derivative moments. You can't help but wish you were hearing these songs live rather than on rec0rd. Such is their energy. but that's a tribute to the quality of the band's live shows. This is for those quiet evenings in skanking round your living room. (Mark Robertson)
ROCK
DEAD OR AMERICAN Ends
(Pet Piranha) COO
On listening to this record, it's hard not to be struck by the senses of narcissism, rage and rough humour which accompany it. In fact. you might even suspect that this lot are from
Dundee on such evidence alone.
Anyway. Dead or American are an energetic propositiOn if nothing else. They take their cues from the likes of At The Drive—In and Hot Snakes. and -— while coming nowhere near either of those legendary noisemongers — they still make a pretty good fist of making angular. noisy and vengeful powerpunk. The Scots accent rings clear on songs like 'Don't Hold Your Breath'. one of the more gratifyingly tuneful efforts here. although it is all a bit 2001 (the year. not the film). (David Pollock)
JAZZ PUNK ACOUSTIC LADYLAND Skinny Grin (V2) 0...
Propulsive. compulsive. repulsive. impulsive and explosive: Acoustic Ladyland aren't your average band, but then this isn't your average record. Pete Wareham and his associates' mutual dislike of the expected conventions of jazz music has driven the quartet to search out a sound which is theirs and no others. Somewhere between disjointed NYC no wave (James Chance guests on this bad boy), Miles Davis' wanton and brutal early 70s ja//- rock fusions and some truly poetic and poignant Ian Dury- esgue atmospherics this is a startling and comforting record. often on the same tune. There's plenty of hardcore ja/zheads much further out musically that this gang. but the style. precision and black humour that they apply to their tunes is what makes this so impressive.
(Mark Robertson)
hurl
MUSIC BOOKS FOR CHRISTMAS
Pet Shop Boys Catalogue Phi/it) Home and Chris H061”) (Ilia/ries 62 Hudson) Popists. design heads and P88 completists alike WI“ drool at this visual documentary of the output the greatest pop duo ever to have walked God's clean earth. I Was There: Gigs That Changed The World Mark Pat/tiess (Casse/l Illustrated; A simple premise. take 2:50 legendary gigs. provide some atmospheric photography and one eye-Witness account for each. I rorn Ihe White Stripes in lexas to t ed /ep in l ondon. you might not have been there but this is a compelling history of the landmarks in live IIIUSIC. R Crumb R (,‘rumb's Hero 's of B/i It is, Ja// and Country (Harry N Abra/rams lucl A truly beautiful piece of work from the underground comic great. a series of Crumb illustrated trading cards depicting the heroes of the blues. early ja// greats. and the pioneers of country Factory Records: The Complete Graphic Album Matthew Robertson (Ilia/ties 8 Hudson ()n a similar tip to tire PSB's tome. the genius of Peter Sauille designer of everything from the cover of New Order's 'Hlue Monday to the factory Hecoid's Christmas card is celebrated in this expansive e><ploration of the f actory Records Visually spectacular back catalogue.
ALL CDS WERE REVIEWED ON A SYSTEM SUPPLIED AND INSTALLED BY LOUD 8: CLEAR
Crux-III! i-Ii-Fl ,‘-.l ID HOME C': iii/1A. Il/l//.;QUL—CLE/—I{.CO.J!
3; Loud
3:3 oCleor
66 THE LIST (£0 Nov-'14 Dec 2006