AlIl ; Ii VII" In»? BLAB 14

Various (I aIIIagIacIm a)

Ali}; I ‘lIIlt. stIIII [II III l’~.

ugh It IIItaI; .,

III! rte (It. llttrlt'l‘y. (ti- a:i st It; Ncast .‘. III ewer .ted quarterry Ly currrr .9 t' ‘III’: cartoor III g pIIHIsIIer tdl ILIL): rpl Iltni. t t)! I ll t;)||r,‘.‘..' g cor In It. [War .5 gr Illery e‘rgr .IbI‘IIoI I t'tldlt true sr. .I .9, mg. dually II IrIeI w .d c Ilour ltftll\)tIUx tIoII do ]U I‘II t: to some ct the sink” g, cirren ‘out there". aII.'I_..k \ or Itarr .ed thIII I.

lne 14th edrtro I. as exer. blunt; “HI: I (1 L It”, (IIIIII'se Ia: g~ ot Iilu tIatII 31..) it I of the lot a::: MUI tr: tarmULlraH-pa Qll'lkrr g IIII&I()1;\$ . (:‘ar y IIIattIIb' Ink c' .er‘ art, IlIa.|U(III Ig an ad tor 'L Ion L. .rclxen' (as tw- ‘il Ill LJ/ILI';.f HAL/d the liltiy'lt‘). wiIIcII Img' rt- haw co- I re out (It Uarr LILI/VEfS Uliwrir,‘ (Urlf't Iron. and MII Ius ar Id be paw-II o 'l ower Broao‘rmy btash'. a II.)II’I.III :)'_)I'l I." III: ljtrgt‘

it seler 'IrIlI (II

106 THE “31'.

;' [\lrl

sxr. ed tr‘arne I; t7.lllr“$ I It?! it”) (IKILNCE Hth“ .)



Alan Moore and various (Abe) 000

x ,. Av// IIEIIII mm I'IUIIILJIn I‘umr

Mm l'fllenDJ HILARY BJIKIE [2583K BART-l

Mtrt;lt;$ currer .t ILIII of ar III/l. gy rates at; III 'e all War II Ind up llI I'M) g'o..orr:, g-.Ip'r III, l.’ .t'! ~. In, an Ir;t-.‘I;‘I.,-I t

collI IctIoI. (JI crIaIIII ter‘s aI Id talr 4) that cl II. p a: rd cI IaI Ige tIIr'..ILIIIIIt,-r.rt tr .r . (.Ur .t 'v :I It litll l I. | I I‘ lit: :)

tr .e super iI I.I-I;'<I- :: II e of

It) May . \IU'l

boy ger Iius and ScIeI Ice wr Irz Jar k B Uui 'v; tI-dII Ill ; 'satancal' supeunerous tr Ie l lr",t Al} IL'I tr til I (II Id Uc)‘ Angel; ink IIIan inplasn b‘IaIII Egan; the attectror Iate nod to lel Lrsr It" s tr I(: Stunt Wrtr. U 'My blrllt in I] Illrérliy. in a LIIIIIIIIII \z 1:. .. the suit; y Ur )Lt/‘JK‘IJ

lt lmrlly I;; M and llIl.~:§. tr re Jack L5 Utrv k and tr It: Ljrz "y b. .IIt aoytn Iltllu.) st III Ic- wtiI ll Iteirrd‘ '- I: I; aI Id got! III; Wit htrt I: .r,‘ L \JIJW ‘U is talc-s at: i II I..I -:e yarrable tIII-Ir sexualIzy otteII cluI . ._,I:y lIIII Idled and over waxdy the 'coIIIeoy' stones of l II .t AIIIUI .cIIII {II Id bplaslr Brar II 4ng I. “It I. II .WI uh I, Vmgr; on tr Ie ()lirtXll-dbhhg Mo.) 9: soul I L) tar IIIUIL: at hoI I =e takII g the II Iter. ger .t route Iatr IeI than the trwolous. He also sworn.) to tall ll Ito the tI.Ip of U III Ig tar too much pIozIe (speech bubbles are at burst” .9 Iron .t) aI Id IIot (:xplUltlr Ig tne IIIaIIIagI: of Image; ar Id Words that Inal- e LUHIIL‘) so or IIIIIII: lt soI I IL'tll I II::, It:d(l;> to torrrlv' III I. tr It heavy stone , that I" Ivor malry go a: ymIc-zc- l .I;d beg the Uh" J" III v.'1'.y tale so lor g to say so lab: 7 I. LIIII‘. Ipm , of g. --IrI, \‘I’t'ltfl Ir -d dt man by as d’\)l>fa It I- -; I: y N'. I: ll II . tutu)


Moore’s murderess



I Don't Want You Back (JIve) 0..

5mm warn you Bnéx

lhere are too many

prIII Itlr ms gel Ire", II. lIILLIK, a, It Is an Id we need he wop a l.,tIrId of trip lIl It) at Id (tut) Wt rtr (excuse Hrtfr) i'le need a Lrta l ord lt:|r(tl.$5<'.llr( e there an: .ts of veIII

popprr Ig paIII here. and number one siI Igle 'l dck It. I don't War It You Back' is by far the II Io',t clumsy and slow. .Iy of them. Llsewnere.

I III Ibaland esoue beats are wracked oII bet ott My DIck' but the tot III;,lI teen gar Igstensr i Is an: erolly ur Icor Ivrr IcII .g. tr re misogyny sticks III the throat and My Baby s Lost' Is a teen R Kelly III a petulant rrrood. WrIeII [arrIon's not tryIIIg to be the toughest nut in the bag there are IIIorrrer Its of p Ip fur Ik sweetness here and wr IeII he sings aI Id actually makes :IoIIIc-tlIII 9 Worth

hater Ir- .9 too.

\Mal k [V ,t )r *! IaOl I)


LUCKY JIM Our Troubles End Tonight

(Lil—III It) 0000

III tne ur Ilrl.ely posIIIoII of berr .g one of blur It Hecords' token guitar acts. Lucky JIIII are actually E (III .burgr I's own Ger don Graham and BIIglItoIriaI. Ben

towr IseI Id. WI Io cares wrro got them to sign on ttre dotted true. though. as I0I Ig as we get to hear them.

Arr alburII IIclI III the tolky nuances of west coast tloweIcI IIld Arrrerrca circa 1908. Our Doubles End IoIIIgIIt Is a truly IIIaje:,trc stab at Udall. g the [rel teat

summer 3 ~undtrack.

[ct rues of Dot lUVul I, JaIIIes laylor. Cat Stevens and we might have guessed! - Krng Bob hIrIIselt rurr tI Irough ur IseIIcOI Iscrou: .Iy st 1 It. y works of delrgr It Irke 'You're Lovely to Me'. ‘LrIdless NIglIt' and 'You Stole My Heart Away'. they're tr .e lur ‘Ill BIalws ILS UK to love. and hoperully tr Iey're 90" I9 to be huge. Lucky Jll . I.) Lucky us. IIIOIe Irke. (Dayrd l‘ollock)



ATG: Music for the Unreal

(Al G) O.

A cOIIIleatrorI ot

ur IsIgI red ScottIsh bar Ids IIIcludII .g (JachUI I I. Lienan and Sootr I. the ‘unreal' III the We are presur I Iably adolesceI It boys wrth a loudness tor LII IkIII Park style Stateside rock wrth a town of ambient tIIIoer III for good measure. ()Irly trre IIIoshpIt tIIeI .dry Alpacrr Ios star Id out slIgIIrIy wrtlr an ear tor a good hook and IIUVII g a track called lor Iy

Mor Itar Ia'; Scarrace s phrlosop‘r Iy of When you get the money. you get the power. then WI Ien you get the power, you get the worrrer I' bt’ll Ig

OI re that both they and their audrer Ice would no doubt be happy to follow.

It IIIIIIa Heart.” .d .)

PurIK l‘OP PULLEY Matters

ti p'raph) .00 THE GET UP KIDS

Guilt Show (Vagrant) .00

We've con .e a lor .g v. Iy from the V'tIIoIIc three chord IIIoI Itres dolzd out by Strll Lrttle lIIIgers. have we not 2 On ev;der Ice ot l‘ulley s latest errort tr Iat's ar. Crrrphallc‘ no. the

her IetIc buzz saw action prevalls and you war It to break tI Ie draw I .er ’s sucks just to see If It would II Iake him play anything other than that born In bunrtrt burn tIt beat. they know then way round a decent Chorus but tall down

wI IeII tryir rg to stay true to U Ie ‘pur Ik' cause as tr rey larl to grasp tr Ie


rIotIon that punk was about pushrr Ig tIIrI Igs tonaId IIot iIoIdII .g tr our back.

lrre bet Up Kids taIr OI Ily a lIttle better. them are IIIonIeI Irs ot tuz/y. erncaye warmth from the" sweet'n'sour growl

lrke ' lIIeIe Is a Way Out

and ‘Never Be AIoIIe'. but It Just Isn't enough. It’s lrke takrr Ig Squee/ e. Rt M. the L, Ira. the Bum (' ,l-cs. browdr-d HI II .II.;. (n U Lien l alris and bler «III I; trIeIII iI .io OIII: sugary, tread

llUi . .bII .g t-II Ia colada A tuII Idea on paper

per I Iaps but urrIrIIater drsappOII It" Ieg SILHy (Mark Robertson)


I Com (Novarnute) 0”

this Is the debut solo album by Uarolrne Herve. AKA Mrss Krtlrn, ar Id as shes One half of the team. along erII Felrx [)a llousecat. Illut brought us seIIIIIIaI

dar Icerroor classrc ‘brlver Screen (Showw Scur Ie)' II de ;erves

tI Ie descr ipllull ‘I I ILIcII arItIprated'.

As such, It's a wee brt of a drsappoIIItIIIeI It. Of course. the albuI I Is r.clI III the sort of tat. (Ln: shakII .g electro basslrr res we II .Igr .t have expected (' Protessioi Ial DIsIOIIIoII ) and the guy, bubblegum M It ,al hooks that warrant cOI I IpaIIsor rs to soulmates Chicks on Speed (Meet Sue Be She'). but It's all rust a brt too urIrroIIII iIOIII someone we aIWays had pegged as a leader of the genre. Not a bad album. as It happens. Just toldrng a lrttle under the weight of expectatIOIr.

(Davrd l’oll0ck)