V SINGLES Tl— lFortran 5: The Groove EP 5

MUIB (iuest sin I .‘ I); 'v 5W}, cm. u, $3322 5'; ‘lnto The Night’ (Virgin) i sound that‘preyiuus Edinburgh’s Botany 5 have said that releases lacked. A I they want to make a late-night listening I “1'”ch sliitc-nf-thc-art music, something to mellow out to “me. it “'Uuld. however. when the last club’s closed its doors f" ‘(".‘”"‘_';‘)“d ”‘ i‘ and things need taking downa notch or hm 4mm. “’1‘ " two. They have certainly achieved that

i ., elee ()ulthe B-side for 'Bike'. aem'er here’ and more: . of the Pink I-‘lm-a song The electro-trIo’s smouldering, which sees s‘iu'nuricii's lulling sound is best allowed to (deep) place taken I'Ty the breathe on ‘The Only One In Your Love’, I Sampled diuluguc of Sid whose ‘Vision 0n' keyboard lick and

lazy, syncopated shuttle perfectly carry Gordon Kerr’s patient, slithering vocal.

.Iames. Very strange. (Jll) " . The result is somewhere between a ‘Riders On The Storm’ Doors tee! and



l Sound Systemme: Play All Night (Go! Beat) This dun ui(‘arla Marie Mersh and Valentine Nonyela (one of the stars oi Young Soul Rebels) deliver a quirky debut single. A lazy grimye underpins their vaguely reggae sound. ('arla's sweet soul voice and Valentine's toasting. Laid hack and definitely happening. (Ill)

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LACE VIRGINIA u ) ' «iii-Ii ' ( Ire . ' LP...- ' 'i A‘,‘ 2’: ( . Ox}; ' -- " 3f \


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I late-period Talk Talk: on ‘Empty

) Words’, the vocal is so gruttly soporitic i it could be Andrew Eldritch at the helm, but both this track and the balmy ‘Gitt From The Past‘ show Kerr capable at an attectlng love-lyric.

Only twice is the loot applied to the accelerator: ‘Nature Boy"s intectious glide is still a pleasure and the other I single, ‘Love Bomb’ despite sounding alarmingly like Curiosity Killed The Cat in places- races along sweetly. Callum Malcolm’s production (at course) lends a Blue Nile-ish tint to the whole altair, a spacey, relaxed . airiness wholly appropriate tothis i mature set at brooding, ambient i ballads. Dreamscapes torthe

post-ecstacy meltdown; compelling stutt all round. (Paul W. Hullah)

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they’re not trying to ape Happy Mondays, they don’t really have much at their own.

Their version ot The Velvet Underground’s “What Goes 0n’ is quite imaginative, emphasising the song’s romantic side overthe more accustomed chop-away-until-your- hand-talls-ott approach. But their occasional grafting ot ‘uggle-uggle’ Moroder synths to an otherwise run-ot-the-mill 90$ sound suggests that their ideas are not only tairly obvious, but one step ahead at their ability to carry them outwith tlair.

‘Sundew’ is quite Iistenable, and withstands repeated plays it you don’t have to think too hard about it, but it’s basicallyjust another album trom just another band. (Alastair Mabbott)


Sundew (Virgin)

What tamous Manchester band do Paris Angels remind you oi? No, don't tell me, I can guess. Slip the needle onto ‘Slippery Man’ and can’t you tell from the title tor the most transparent piece at mimicry in the whole Paris Angels canon. Lead vocalist Rikki i Turner breaches Shaun Byder’s copyright on lazy, grutt non-singing, while Paul Wagstatt tills up the gaps with suitably Mark Day-like guitar lines. It’s one at several tracks that could have been left off ‘Pills, Thrills & Bellyaches’ tor their complete lack ot magnetism. Paris Angels have a problem with identity, in that when

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The List 16— 22 August 199181