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52 THE LIST. - 5-.21 3w:

across-the-board crowd-pleaser. (James Smart)


First Contact (Sony) .0.

You don't have to be a dance music aficionado to think Roger Sanchez's number one 'Another Chance' was pure quality. But a whole album of this brings to mind some sort of hands in the air disco nightmare. Opener ‘Computabank' which could be the theme tune from some 80s action comedy (‘Axel F' anybody?) bodes well. Then there's the aforementioned blissful “Another Chance' and squiggly party-up number 'Ventura'. But Sanchez just can't resist the cheesy housey vocally thing and unfortunately these make up a large chunk of the album. And getting Sharleen Spiteri to sing on any track (even Texas tracks) is. and always will be. a crime against nature. (Henry Northmore)

ELECTRONICA KOSHEEN Resist (Arista/Moksha) 0..

Currently all over the radio with an Ibiza—by- numbers overhaul of ‘Hide U'. Kosheen's debut album reveals a group with more grandiose musical ambitions than the Sashas and Digweeds of the world could ever match. Sure. Resist hasthetendencyto slip into trance preset mode occasionally, but when Markee Substance. Darren Decoder and alluring vocalist Sian Evans hit the mark. as in (Slip and Slide) Suicide with its woofer troubling drum and bass reminiscent of Goldie in his heyday. and the surprisingly effective Portishead-isms of 'Cruelty'. they redeem themselves.

As with many a multi-genre dance album however. ‘Resist' shows Kosheen to be jacks of all trades, but masters of . . . well, some. (Steven Clark)



Like A Kiss That Never Ends (Justin Time) 0...

Hard on the heels of David Murray's triumphant M'Bizo concert in the jazz festival comes the saxophonist's latest offering, an excellent quartet session with three long-time collaborators and established masters. pianist John Hicks. bassist Ray Drummond and drummer Andrew Cyrille. The saxophonist supplies all but two of the seven tunes. the exceptions being Drummond's 'Dedication' and a version of Monk's “Let's Cool One'. Unlike his experiments with the ethnic music of Senegal and Gaudaloupe which featured in earlier releases on this label. this session concentrates on a (relatively) more conventional. hard swinging contemporary jazz idiom. delivered in typically vibrant and inventive fashion. (Kenny Mathieson)



You’ve Seen Us...You Must Have Seen Us... (Fierce Panda) 0..

The campaign for 'real' Indie clearly starts here with this enjoyably nostalgic romp through Britpop's seedy underbelly of the mid 903. You'll remember Elastica. but Kaito possess the spirit of 1994's forgotten hopefuls. Blessed Ethel, Linus and Prolapse. ‘Go' would have been a guaranteed indie-Disco floor-filler back then, with its skewed quirky Cardiacs riffs. but would no doubt be wasted in today's student union. ‘Catnap' puts a new twist on ripping off Pavement; it imitates Pavement imitating The Fall, and ‘Shelflike' would sit happily on any Catatonia album. While the songs are well constructed and the arrangements are consistently interesting, Kaito sadly face the question of exactly who is going to buy this record? (Steven Clark)


8. I. FUTURES The Mission Statement (Novamute) O.”-


i (15) 98 mins 0.2;. My

Techno experimentalist Si

Begg is calling himself S. l. Futures for this release. which is apparently a 'dig at a world where Ford Mondeos rule the road and carriage clocks sit smueg on polished mantlepieces.’ Thankfully, if The Mission Statement is a concept album, it's a funny and funky one. and if 8999 is a crusty he's nothing like as dull as Ozric Tentacles. Kraftwerk-era synths. frenetic breakbeats and wildstyle vocoder action (Cher, eat your heart out. Please?) combine brilliantly to make a highly listenable dance long player and a techno record you can actually dance to. Now why doesn't that happen more often?

(James Smart)


McSIeazy ( DOD.

A home-recorded self- produced opus from McSIeazy main man Grant Robson, this provides further proof. if it were needed. that all the wrong people have record deals. Despite basic equipment restrictions, Robson. with his bags of enthusiasm in tow. has created a pretence-free party vibe best captured on the relentlessly effective ‘Discodance'. Shades of 808 electro- pop. early 903 rave. and most other genres that refuse to take themselves seriously, rear their heads. There's even the Digital Hardcore of ‘Sweat'. and surely Alec Empire can't be senous.

A bastardised cover of Billy Idol's “Rebel Yell' with Regency Buck's Chris on vocals provides a fitting finale. and perhaps given a decent budget next time. we'll all soon be getting nice and McSIeazy.

(Steven Clark)






Megan (Natasha Lyonne) is a cheerleader whose parents. suspecting she has non-heterosexual tendencies, send her off to “straight camp' for sexual realignment. She

meets other teenagers. falls in love and realises she likes being a lesbian.

What looks like being a

good fun tasteless

camp-fest sadly never

develops this is a John

Waters film for teenagers. The camp

and the cast are there,

but the screenplay and plot never get going. As a gay rites of passage

§ movie it's too silly to make a point. and as a L camp comedy it’s not

funny enough. Disappointing. (Metrodome VHS and

3 DVD rental) ' (Martin Young)



(15) 79 mins on t

Two dudes (Ashton Kutcher and Sean Scott Williams) get completely wasted one night and wake up to find they have lost their car - leading to the title's enquiry. So they retrace their steps in an attempt

E to jog their memory.

Let's just say this journey involves large breasted aliens. transvestite mobsters and French