Money Mark, The Herbaliser, Ryuichi Sakamoto, Coldcut, Luke Vibert, DJ Vadim, Funki Porcini, DJ Food, The Clifford Gilberto Rhythm Combination and many more. Classmcation is pointless listening is everything. Free yOur mind and your ass Will follow. (LT)


Anne Martin Co . . .7 (Whitewave) in st * a

Subtitled 'Gaelic song from the Isle of Skye', this first album on the Singer's home-grown label sets a very high standard. Co-produced by ex— Battlefield piper lain MacDonald and Runrig's Malcolm Jones, and mixed by Brian MacNeil, there are contributions from Iain MacFarlane’s fiddle, Ingrid Henderson's keyboards, and Shooglenifty percussionist James MacKintosh. From the opening country and western isles flavour, through unaccompanied, or barely orchestrated airs to thumping, smallpipe-and- trump-accompanied mouth music, there is a strong sense that it is the song that counts. Jones' UbiQUlIOUS gmtar is eloquent and atmospheric in electric and acoustic versions, while, like MacDonald, he also handles half a dozen other instruments, but Martin's contemplative, variegated vocals are central to this moody, modern album. (NC)

Margaret Stewart and Allan MacDonald

Fhuair Mi Pog (Greentrax) as aa- w a at: Two of Gaelic song and music’s greatest exponents collaborate to produce an essential addition to the record collecuon of anyone interested in the genre. With the usual Lochaber suspects (lngrid and Allan Henderson, Iain MacFarlane and brother Iain MacDonald) lending well-played sparing accompaniment to selected tracks, the album is at heart a timeless hymn to song (Stewart) and bagpipe (MacDonald), and their close evolutionary relationship, heard beautifully in the eponymous opening track and the movmg 'Dol Dhan Taigh Bhuan Leat' As at a good ceilidh, however, no mood is allowed to predominate too long »— they've added some cheerful instrumentals, and an exotiisnely played and paced set of reels -— but in the end it's the songs, on vocals or chanter, that linger. (NC)

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DJ Cam: Gallic beats merchant


Kenny Werner Trio

A Delicate Balance (RCA) 'k r ‘k at Right from the imaginative opening tribute to Thelonious Monk, 'Amonkst’, this exemplary trio album from pianist Kenny Werner oozes class It marks his debut for the label, and pairs him for the first time With the stellar rhythm team of Dave Holland and Jack DeJohnette, a combination which pushes even a piece as familiar as Nat Adderley’s 'Work Song' into new dimenSions. That tune aSide, all the music is by Werner, and the spread of the album achieves that delicate balance of mood and style, tradition and innovation implied in the title. (KM)

Mark lsham

Afterglow (Columbia) x w s: Trumpeter Mark Isham’s evocative soundtrack mUSlC for Alan Rudolph's film Afterglow stands up remarkably well as a cooly polished Jazz album in its own right. That is partly down to the quality of lsham’s mUSIC, and partly down to the fabulous band he has assembled for the project, featuring his own lyrical, Miles-influenced horn alongside Charles Lloyd’s distinctive, brooding tenor, Geri Allen's constantly surprismg piano work, and Billy Higgins’s typically inspiring drumming. Gary Burton and Sid Page add additional colour on Vibes and Violin to round off a subtle and satisfying album. (KM)


Kundun (Nonesuch) 4r * “k w

Philip Glass's film soundtracks have consistently produced some of his most energised, exciting and characteristic music. His work on Martin Scorsese's Kundun is no exception, and allows the composer to draw on a long- standing interest in the music and culture of Tibet, draWing on Tibetan horns and the v0ices of Gyuto Monks with a chamber-size ensemble. The evocative shifting sound-scape carries an emotional charge almost on a par With his ClaSSlC Koyaanisqatsr, although without qune matching its sheer Visceral impact. The same label also release a fine new recording of Steve Reich's minimalist classic Music for Eighteen Musicians. (KM)

mm— Idlewild

A Film For The Future (Food) it it act

Local hopes put not a foot wrong With this: ’You're So Vain‘rewritten for carnivorous guitars and a Singer who should be more accurately termed a snarler. At least they’re not trying to be all things to all men, and sound all the better for it. (AM)


The Tashman Dadguy Olfactory EP (Amanita) ‘k at * it

With sides called ‘Boon’ and ’Gill' (ask your grandparents), this is hardly gOing to conform to current Drool Brittania values, and contains five lo-fi, rhythmically warped Curiosmes from

East Kilbride, although it could be a parallel universe where the art of using goitars to annoy is still remembered. (AM)


Two Songs By Khaya (SL) s * v‘r

A game of two sides one, all very healthy, a song about alcohol and self- loathing. But the other is a spoken- Word jOb rec0unting a night Out, making this the second time Khaya have availed themselves of Arab Strap's schtick. Strict measures may have to be enforced. (AM)


Welcome To Dish (Liquefaction) at it From Glasgow, and comprising half of the rather more purposeful Ganger, Fukuyama bring us six atmospheric and fragmentary doodles. Potential talent here, but they don't sound as if they care Whether they ever exploit it or

not (Alvl)


Valentina (Mute) is it

This is those Kraftwerk clones from Father Ted, isn't it7 Dainty German electronics and a brain-deadenineg literal summary of cosmonaut Valentina Tershkova’s achievements which, when it does rhyme, does so very badly. It's for real? Oh, feck. (AM)


Nice Slow (LaFace) s *-

Currently riding (arf) very high careerWise, Usher may think this clumsy soundtrack to a back-seat heavy petting sesh is subtlety itself.

record reviews MUSIC

Maybe women are different in LA, but good sense tells you that this is the kind of record to precipitate an embarassed giggling fit rather than a smooth seduction. (AM)

Christine Levine

You Either Like It Or You Don't (Boilerhouse) *

Whench did this record spring? A phone call to Central Casting, perchance, for a groovy female singer to be fixed up With a song that allows luer to cram in every inflection that we've already heard from Alanis, Joan, Sheryl and Meredith? Apparently not, but I challenge yOu to spot the difference (AM)

Ballroom Don’t Stop (Mother) t

Familiar sounding (in that designed-by- a—committee sense), With a vaguely Eastern motif, a bit of Suede, Blur and Verve and a big chorus If it was on the radio, you'd turn it up, but as for handing over hard shekels, better off waiting for The Best Britpop Album In The World Ever (AM)


Norman Chalmers, Neil Cooper, Alastair Mabbott, Kenny Mathieson, Peter Ross, Fiona Shepherd, Lawrie Thomas.

STAR RATINGS 4: 1k t it 9: Unmissable w t w it Very 00d 30: so at Wort a Shot * * Below average x You’ve been warned

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16-30 Apr 1998 TIIE LIST 47