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ELECTRONIC AUTECHRE Venue, Edinburgh, Sun 15 Apr.

utechre aren’t doing interviews for their latest Amini-tour and it is tempting to speculate as to

why. Those who have no time for left-field electronic music might put it down to intellectual preciousness; others to the fact that since Radiohead have name-checked them they might feel like they have a better pot to piss in. Yet for those who have even in a small way followed the career of this creative unit since they met in September 1987, this reluctance to sit down at the end of a phone and blether nonsense is not only understandable but somehow right.

For there are few other British musical units that have

contributed more to the recent redefinition of the relationship between musicians and their audience than

‘We like it when people are into our gigs on a personal rather than communal level in their

own space.’

Sean Booth and Rob Brown. The duo may argue that since music was first relayed to an audience via gramophone record it was somehow electronic, but during dance music’s late 20th century boom Autechre have been responsible for taking noises previously considered off-limits to musicians and playing them to people in a novel manner.

They may have begun with the classic armoury of the

ROCK was the best thing for the band. It almost came as a relief when it

ELBOW King Tut’s, Glasgow, Thu 26 Apr.

fly“. F

Actions speak louder than words

bedroom boffin - the cannibalised hi-fi decks, butchered walkmans and rudimentary mixers but Autechre also championed local pirate radio in their native Rochdale. Sure, neither act is staggeringly original in itself but it is a combination of private creation and novel methods of transmitting it which typifies Autechre’s special approach.

It was Autechre who led protest against the Criminal Justice Bill, which attacked the rights of ravers, with the non-repetitive beats of 1994’s ‘Anti’ EP - the self- confessed advocates of ‘head music’ defending the rights of ‘dance music’.

It is the same with their live performances as well. Whilst championing ‘small intimate venues with a good sound system but not a lot of light and no stage,’ they have experimented with traditional indie gigs, club nights and more avant-garde collective gatherings, none of which are entirely satisfactory. In a typically ambiguous previous statement, Booth has said, ‘We like it when people are into [our gigs] on a personal rather than communal level in their own space.’

They release Confield this month - an album combining textured industrial noise and organic melody which always rescues itself from the point of collapse before plunging into awkward splendour. It speaks such volumes for this consistently innovative and influential of acts that, hand on our hearts, we didn’t want to talk to them anyway. (Tim Abrahams)

gritty romantic realism] lit: u‘f'uiu eventually. "lliat doesn't rsa‘, ll‘li’jl‘

I‘ll be the corpse in your bathtub.‘ That‘s the opening line of Elbow‘s first single. ‘Newborn'. a seven-minute epic of bittersweet love. melodies to die for and guitars to reawaken your faith in the blighted instrument. it's great. but it’s not the most commercially-minded debut. So it's no Surprise that the Bury five-piece had already been dropped by two (count ‘eml major labels before ‘Newborn"s release.

Having formed ten years ago when they met at school. Elbow‘s career so far has been more of a war of attrition than a rocket to the stars. Eventually picked up by Island in 1998. the band thought their luck was in. only to fall victim to corporate politics. A bail out contract with EMI similarly went tits up. According to guitarist Mark Potter. it

46 THE LIST 12—26 Apr 2001

happened,’ he says. ‘cos at least then

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we knew that we could get on wnth Plan B. It definitely made us stronger. and Our record is very different to what Island WOLlld have released.“

The record in question is As/eep In The Back, the band's forthcoming debut album due Out in May on V2 records. and preceded by a single. 'Red‘. this month. It mixes up beautifully barbed lyrics with sublime melody and post-rock experimentation. and Potter reckons the long gestation period for the album is to its benefit. ‘We're so happy and pr0ud of this record. there's so much gone into it. It's been a long time coming, we Just really want to get it Out there.‘

Asked to describe the Elbow SOund. Potter hums and haws for a bit. ‘It's

All things come to those who wait


Surface noise

MUS/C news now

T IN THE PARK HAVE ADDED several more names to their rapidly expanding bill for 7 & 8 July. Chart assaulting guitar heroes Feeder and rightly much-hyped Starsailor will play on the main stage on Sunday. while the King Tut‘s tent will play host to the excellent Elbow. For more on Elbow see preview below. Tickets for the festival are on sale now.

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CAPTAIN BEEFHEART FANS that would like to see an example of the man’s art: Brown Field, an exhibition at Market in Glasgow, is displaying one of his abstract works until 28 April. IIIl Hill UP I i ,l- f fit. it In

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‘~ '. .n 4" 4/3 TRIPTYCH TICKET GIVEAWAY We have three pairs of tickets to give to you lucky readers for Jarvis Cocker and Steve Mackey’s appearance at Optimo in Glasgow on Sunday 29 April. The duo’s wildly eclectic DJ sets show another side the Pulp men and this is their Scottish debut.

To win a pair simply tell us the name of the last Pulp LP. Send your entries to: Cocker Competition, The List, 14 High Street, Edinburgh, EH1 1TE by Monday 23 April.