m _ textural wash of ‘Fallen’ and the gentle, coquettish, rapturous ‘White

Frag: 83:31am“ ONE DOVE love’. State-of-the-art is the camber c t' - of the music, so we’re reminded, but first?” "but mm "m Morning Oove White (Boys Own) melhe “"0 admins "001 this Peet' I like everything this It’s admirable that, despite a sporadic metith angle the Veteeielletl- 70' week. cont.“ mm, for release schedule, One Oove have everv eurole end hill) 0" ‘Sti‘eee’ example. ‘Evangeline’ managed to capture the national them’e e recognisable "emetth (Fontana) has gentle conscience enough to lodge lasting retrain er hllret 0t twanov setter- soars, emotional sores. images, sounds and words in the ‘Breakdown’ sports a melody so

and Liz Fraser floating collective cerebellum. So they find immediate it belongs in a Take That sedate” “he ihte'he'h'y themselves about to release their confection. not a dirobbino.

0;.“ ai’ack‘ge "’3‘ '3 b debut album and are already flirting supposedly avant-saIde dub shrine- fhgvggigjhagirgasve" y with the realms of cliche. The album Intact. One Dove are of their time. stand“; title for instance the most the sound of pop music being made in Speaking of things disastrous juxtaposition oi three the 908- SHddehll this seeth'eee French. Belgian label Play words since ‘Sonic Flower Groom’, synthesis of the trad and the hip

it Again Sam is where Ocean Oolour Scene, or make up your ceases to sound like the wildly "09“? Currently tes'ee- , own. The fact that it was Elvis’s gran’s original concept someone should have The'.’ Uptown '"V's'ble name is neither here nor there. had long ago, and just be simple

‘5 Skmery cw'cabml Purity and sexuality are the main really. And that’s where the art lies. strangeness. No

mminmive country recurring motifs, coupled on the (Fiona Shepherd)

delicacy this time. Which is nearly a shame. Luckily the cinematic 60s swing of the single more than compensates. So does the deep-down-the-well i echoey twang of '

—. 1A.. \J‘iihsuo . . t i r is instrumental B-Side Call

it What You Want. - Anything’. l Meanwhile. more ! '


as at 15'

surprisingly still, nay understated

I laid (Fontana) album. Laid, produced by Brian Eno,

3 When i were a lad, James made a very plays with textures rather than

1 wonderful noise indeed, all stuttering gestures and James benefit from the

} polyrhythms, chiming African guitars space. Tim Booth can still sound too

I v t' o o o u v v chorus halfway through. Truly James Ea V i r N I _ were touching God again.

It’s a rare moment of madness on a g , . e e JAMES

. , l and weird-as-chips lyrics about important or histrionic for the sweet Xegrfgess£hn."d°:i:°bk:1 Scarecrows and Insects. They sold chiming backings, and his attempts to age: a ofa about fourteen records. Post That llit, get chirpin cynical (low Low low) can Singles Clubs oddities is 1 James quickly became not very sound contrived and awkward, but

. interesting at all, drifting into Second mostly Laid is a return to form, y, 2 Division stadium chuggers with a dull assured and languid, with the

this week’s Lounge Crooner King. ‘City

Sickness' (This Way Up) T i line in epic whinges. emphasis on the intimate rather than is the mtisie the rei'ehhht % Which made Sometimes such a bolt the panoramic. With Out To Get You Pm" Qu'm‘ W9“ km“ 5 from the blue. That apocalyptic and Knuckle Too Far, they’ve come up 0‘" "odbome’l‘fi‘e hag i narrative bouncing off of a lagged wall with two top five-star ballads of 33:: afigflhfl? a" f of guitars wandered into genius bedroom paranoia that are quietly production behind him. ! territory with the key change in the devastating. Sound. (Tom Lappin)

'Cit Sickness' is Ton

Beniiett meets Nick CZve “33"” "who" that hits", f 7

down the Club El Bongo :1“ t ' ' e g

with a tene ade offshoot . T um ill, ry O

of the Nelsgn Riddle PET SHOP BOYS the point oi dessication, has w

Orchestra Providing V'” P" 5"” 3°" (Pai'oph‘m) eminence. When pop is this operatic, '

baCking ‘UShneSS- Indie‘ mm “miss “The "mm" mm this overblown you have to laugh.

lpop just threw on a tux. ‘Flash Gordon’ meets COCO The Clown. ' 9 .

Orchestral arrangements from Anne Oudley add warmth and exotica where the crushing swoop and cruise oi the

Truly marvellous. So is That packaging, a revolutionary bright 3'0"“ how’s 'Dtsteht ,orange plastic Oil case with pimples,

Sun’ (Capitol). which this like a grown-up’s Ouplo brick That hit ' uadrons of s the con ire to week also appeared “9 a single, a cover so ludicrously over- sq W Sp

mystery track buried deep , create cold artifice. But then, of in the Beatles ‘Blue‘ CD. “'94” that n 3 In" a “3"” "3" mm course, artifice is what it’s all about,

Or did it? “it"s taughabi" “I'V' 7'“ "W" as lleil Tennant’s permanently distant ' '

Who else but the shebang, an abject lesson in how to vocals mast When no sum 1 “8| (o .9 rogueish TOOIIflO Fanclub ' brazenly the headlines and a" my clothes 0" and I e a could getaway with i the product, but never be accused of dancing m "I, ma M spun . on "m - -

allin a sin le ‘Norman 6 g C. e . 8., anrthinii as erase es hither simmicm Italian house-styled ‘l Wouldn’t affix? 'Bcll‘t’lttg’gie ; or strategic marketing. How very Pet "om", no nus Km m “mgr, m3 cm; Emopsppm . 5"” Bim- seems as likely as your granny doing - .. couldn’t manage to . F" m" “"“m a'bu'“ “Mani and the same. Methinks he’s taking the construct a formidable l.owe have returned to their trademark ms. "0' "I, P“ Shop Boys. (cram .— chorus out of the weally . upbeat "hum; Pulsmgsr ti” dating imam") wadical line ‘l‘m in love duo clearly recovered from the i with you‘. Boom! TFC ; just shook the room with i a I, 1 _ In Ten’ and the luscious summer beats gggntgzbgsellilegwpggm i v . .. of ‘Oown That lload’. But ‘What . . . My : 2 i l hem anger... . ; SHARA "Else" infli’ifa'i‘firii iiii’in'i‘r'iflirfim'. (Mogher) mg: I What Silence Knows (Oooltempo) that ioytuny dwells on uneasy like a nursery rhyme and The blue Pm" it" this album is Y0 Y0 atmospheres. Peden’s forbidding proceeds as The Monkees ' lionev’s ‘Voodoo Soul’. ex-ehime orchestrations perfectly dovetail with meets The Wonder Stuff. I Michael Peden’s initial excursion into llelson’s highly charged vocals. ‘llow A highly agreeable union. i vivid, opulent soul. This time the Olose’, ‘lnsfde Out’ and ‘Pain no: d f u i stunning vocals are provided by iievlsited’ swoop luxuriously around RAgAfgLfiMAMA. ; tormer Massive Attack part-timer lyrics that emphasise love bereft. Goodbye Mr "scum. i Shara liaison. who moves here that The most exquisite song is the title are back and boy are they l She learnt semefllinll from the Wild track. it invites the listener into ‘Hard‘ (Blokshok). Martin I Bunch With the ehthemte "teed! heete alluring, intimate confinement, and is Metcalfe spits his sneer, ' 0' ‘hehedl’ end ‘ihonohts 0‘ Yetl’- the perfect curtain closer on a .the guitars go ape and the i like ‘Voodoo Soul’, the initial sinister, What‘th athmh that tun, crowd 80 bananas- . o i emphasis hes been Pitt 0" the hreel! deserves the wide appreciation it is WhiPerseiteway. Hard is commercial tracks: the excellent goth, to "at... "am", now) a Psyche-reek better i Motownesque rhythm of ‘One Goodbye

32 The List 24 September—7 October l993