l m _ delivery and interminable parade oi ‘lntehodino’, masochistic images are

l Philip Durward reviews CURVE enervated devices now, robbing her oi

; the new releases. Cuckoo (Anxious) any opportunity tor vocal quirks (apart

i To release one album swarming with "0'" WWW c'mlllO’s “'19” She

l indistinguishable highly-polished animate to he lie-he'an the ltntntlnal

l techno-gothic anthems oi breathy Pea" 3' 993" “Willa llllfllel-

! pessimism could be considered a “l” ""3 9'?“ “"0"”th 3 "ac" "*9

, teething dilemma; to release another A“ "l on", ' law“ “"4959”? '0

. could he "wanted as ,3”, Superman meets Monsoon s Ever So opportunisrn. Curve are still trussed up lone" : '93” 0|“ "0'" "‘9 Von” 0' in a zealous beliei in their one pristine Winding Oman and “"93"

i , idea, mans“ so memorably, production with a dynamism that rests

i . iashionably and urgently on ‘Ten Little 0" "‘0" "'3" optlmum 9mm "limo"-

l 310'“ l Girls’. A scenario which never hurt the “"90"” "it" 900*“? 0' "9” among

l ’5‘-“"""3 "’ "7’6"; dull“ Cocteau Twins, but their little iluiiy "'9 h°m°9°"°"9 3m“ “93 cm“ a

i is the only hope for t'tttyl. cum" 3,9 ,3, mo", palatable than power oi good but won’t be a regular

' ghc rcficntlp‘m‘hlcm has 4 Gum’s bnlowing 3mm chads casting ieature while they continue to labour

' 57,33,335;3,3’1131‘“ down their black sheets oi rain. ‘We “"dfi' "‘9 misaPil'Bhensm" “lat

enough quality. Therefore won’t be happy ml we km 930" out": Shay '9 the Seunduafik to ,

‘3 we only deal with the intones Toni on ‘Men Are From Mars’. Blademnne' ""393 3'“ WM“ '

bCSt. Take. for instance. . Great title, shame about the autopilot i ("0'13 Shame")

3 the thtttlttttts “than lyrics. llalliday’s mantra-like purring |

; Species‘ ‘l.istell' (Talkin' Loud). The chances are

. that yen will istttttclht‘ _ already signed to BMG, plays the

5 “Flam?” all}? '” "‘“tl‘” i Percussion Concerto ‘Veni, Vent,

I ot t e a7. ' rt lance o , .

l the (oh-sd-hip) folk guitar , Emmantuel "5th the scoulSh Chamber

and bassline that drags Veni, Veni, Emmanuel (catalyst) '0 es fa “n 3" Jukka‘Pekka saiaSte.

; you into seeing dance in a j The speed with which James It .has a" the Mach'la" "ademaitts '-

whole new musical light. l momma" has both "fine" new wofks driving rhythmic energy, massive and If ll “Whll‘l- “‘9” m“ h” and acquired an international complex (llllt directh efoessedl

that never was will.

. . reputation has Ieit the recording oi his “Chestla' textures, and a striking AdeCllVCS alone cannot

music lagging desperately tar behind, equality between soloist and

l,néal:l:lt(:l::.l“USS on" one disc (an excellent OTChFStfa, til Wthh the latter often (Blue Note). Forget all the ' orchestral selection on Koch 03"”? the important developmental remixes and slavuwith the ' International) in the catalogue. matenal- Equally typically. It is based

Accordingly, this inaugural disc under 0" l9'l9i0ll5 sources. both in mustcal his new exclusive recording contract ma‘?l'3'a"d "l "'9 dalllllte programme with BMG (they will be recording the hehtnd the work. and ends in a heanening coda ‘0 "'8 Festival’s Resurrectlon. is accompanied celebration oi his music. The disc is tour smaller scale works. the most a

one oi iive chosen to launch the new Sllbstantlal 0' Whieh is the semi-

brilliant original. Mount Rushmore can easily be forgiven for covering Kiki Dee because ‘I've Got The Music‘ (Ore) has a similar V 1970s meets 90s quality ' as Sub Sub, and will no

doubt be just as huge. As high-Pletlle contempma'y muSic paradic " ' ' as “he,” see us ' ' ',' A" for the bloody M People. labelr cataIVSL ate w?" worth heanng' (Kenny l what would it take for In the main work, Evelyn Glennie, Maul"3130") i

them to l‘alter'.’ On lirsl listen. ‘Movin' On Up’ (Deconstruction)seems 5

really weak. bill a dozen radio plays later and it‘s an impossible stain to '; remove from the psyche. ' POSt’msmflc “onsmrs (cmysallsl Bang. hit number six and i The! 79 [83"! asking t0! it this time. counting. 3 Having song titles like ‘Cheer lip It I By fat the nth-st . Might liever llappen‘, ‘Suicide Isn’t ““l’lc~‘~“"'c It” “mt” 1;“ Painless‘ and, most obviously, ‘The a £1313glkgfihl'iw3“0'” i Music That llobody Likes‘ isa bit like L y “‘ mm L } sticking your ioot out into the road

Bont. B th ‘8': l 0'" k N , and daring a bus to run it over. Still,

man Tim Simenon returns , to expertly mix David you can get away wm‘ that It you '9

Arnold‘s orchestration, : oii the bus routes, and almost any with an inspired iah ; indiscretion in titles or packaging is Wobble bassline. iorgivable when a group have created

Stunning. What a shame a "135mm" amum. the same can't be said of l umonunamly, can" haven’t {somnetinaioigdiliielfbreezy ? they have Odd moments - "rs big’ pop has been ahandmcd 3 but it’s not clever/and it's really not in favour Of furious folk i that big’ - but not a consistent whole. guitars and ridiculous The impact oi clever wordcrait is ramblings about old men. ; oiten lost in their bland techno rock; beaches and fishing boats. an insistence on using synth strings

3(30'“ only me“ ‘0 W“ l rather than the real thing is enough to ffi‘fi‘cwim ,lc ' render a solo line dull, and even at the from loose End‘s a", . peak oi their electronic noise, the

; anthems are devoid oi soul. Ballads

McIntosh is a man who mm, ,0 believe that “is ; hidden among the iiiteen tracks oiier

his mission to make the more interest, but even these vary in kind of music Marvin l quality.

Gaye would be making if Jim Bob and Frultbat have chosen a he were slit/c toduy-_‘My sterile medium ior their observations Way (virgin) truly is real on lite. they need either an expansion

dance music; no samples _ or crappy keybmrd loops. oi musical horizons or to be quickly

i just quality controlled and painless" pm dam"

, soul straight from the hip. unflopl’abla? Lars hope no" in“ l" Ecuuiez. i 0880. (GBVIII lnglis)


32 Tiara l disengage; 1993