. ii“ 6,

The New Jock Revolution anyone south of Carlisle) marches on with the few bands who remain unsigned shrugging and releasing their own records. Kobra Audio Labs forage away in their secret underground lair. wreaking their sonic alchemy via tense pulsating hip hoppery. ‘KAL2' (KAL) .000 is the impressive result. Meanwhile. Diadem's 'Idiot Prophecy’ (7DD) pummels its way to 0” with an incendiary emo/metal mix. Brightness and contrast on Horse Island’s EP (Patiosounds) “O . an upbeat take on the thing. bathing the listener in summery sounds.

With any underground 'scene' co-operation’s the name of the game. so split singles are de rigeur Baskin‘s ‘Job Hunt' (Chunky Chicken) is as light and fey as their antithesis. Hex. is dark and heavy 000 . Another joint CD release comes from the formerly grungey Stigma (Spermatozoa). whose ‘Nothing Left' sees them in reflective mood. closer to that of temporary Iabelmates Deadestereo who make their traditional moodin melodic sounds on ‘A Perfect Second‘ I” . Eleven Mile Creek‘s ‘Training For Industry' EP (Creek) 0000 continues the subdued theme with three beautifully maudlin tracks set at the Scots end of Nick Cave country.

Meanwhile, Carnoustie’s The Fuse - having just played a gig in legendary NYC punk venue CBGBs fit that mould with half the tracks on ‘North Eastern Town' (Fuse) on very agreeable Idlewild-fired pop-punk. Catcher also do that retro thing rather well on 'Different City' (West Nile) COO . perky Buzzcocks-y new wave being their strength. The Nectarine No 9 remember the 70s a little differently, and punt their latest album via the title track ‘ilovetotaldestruction’ (Creeping Bent) «00 all swaggering guitar and a chorus you could float the Titanic in. Ordinaryson‘s ‘Numbers' (Travelled) 0000 is deep-in-the—woods electronic pop; all muttered vocals and eerie atmospherics, while by contrast. Closer deliver a reliable quiet-loud rift-racket on ‘Gossip‘ (Adorno) 000

The International Pop Assassins return after a four year absence with ‘Niagra Viagra'

000 , kicking off their one year plan which sees three more pieces of skewed guitar pop imminent. Bob Cuba spoil us with some altruism the Rico-produced 'Million Eyes' (Fusion) is a free CD single and their anthemic guitar pop is more than worth the price! 0” And one- man-band electro stems from Satellite Dub. the bone-rattling “Power-off Einstein' (satellitedubcom) om surely an indie dance— floor filler.

Despite all these promising whippersnappers. it’s left to the old timers to bring in the top scores. L Pierre - AKA Arab Strap's Aidan Moffat - offers gloriously sweeping electronica on 'Total Horizontal' (Melodic) .0000. His one— time Iabelmates Dirty Hospital used to be two thirds of youthful popsters bis. but on ‘The Ouickness of . . .' com they now deliver grimy techno rather than shiny kandy pop. via their own Rottenrow label. Yes. DlY real, not fake is where it's at. (Stuart McHugh)

108 THE LIST 12/ May 10 Jun you-i


PJ HARVEY Uh Huh Her ilsland) .00.

Having wriggled resolutely out of almost every pigeon hole she has ever been shoehorned into, it’s no surprise to find PJ Harvey taking another twist and turn. After the high gloss of 2000’s Stories From the City, Stories From the Sea, her seventh album, Uh Huh Her, is a stripped down and occasionally clunky affair but is as strangely beguiling as


For the first time, so much of what Harvey is doing sounds like part of the contemporary rock landscape - the Yeah Yeah Yeahs, the White Stripes, Radiohead - but you get a sense that this is as likely to be her influencing them as them influencing her.

The only real linear trait throughout the 14 songs is the uncluttered arrangements. This

is the most unfettered Harvey has been since her collection of Four-Track Demos over decade ago. She has successfully captured the frailties in her music on tape; however, the weaker moments do feel like the shells of songs not yet fully realised. But when Harvey hits the spot, as she does frequently, the result is wondrous: with the squeaky Neil Young-isms of ‘Pocket Knife’, the woozy, bloozy opener ‘The Life and Death of Mr Badmouth’ and the charcoal black lullaby ‘The Desperate Kingdom of Love’ in particular. The lunging, swaying melodramas of To Bring You My Love and Stories From the City . . . are momentarily forgotten and the emotionally stark, high wire walk that

was Rid of Me is recalled.

It is exciting to find someone so established in music today seemingly unrestrained by formula. Another predictably unpredictable collection. (Mark Robertson)

life. including observations on prostitution i‘Arrested') and incest (Basement). Worthy and ambitious this may be. but as an overall listening experience. The Heat is dragged down by its incessantly dreary guitar—heavy sound. the lack of variety made worse by Malin's relentlessly plaintive whine. iAllan Radcliffe)



tZtima Recordings) 0...

{rum Buckle

Despite the long— awaited fall from grace of nu-metal nuiiipties like Limp Bi/kit and Alien Ant Farm. there are still some horrendous acts around casting a shadow over the righteous name of rawk. The Rasmus or Linkin Park anyone? Good. tliréii. tr) lirzzir s;()iii(> quality coming from our corner of the earth. Step forward Glasgow guintet Terra Diablo with one of the best debut offerings you‘ll hear this year. From fast paced riff fren/ies to graceful

ballads. each track boasts an infectious melody commanded by Ian Fairclough's compelling vocals and is delivered with an intense and fiery passion. Sounds like the baggy trousered kids have a new name to scrawl onto their backpacks. (Camilla Pia)


For the uninitiated. Afrobeat is a movement begun by Fela Anikulapo—Kuti that fuses )a//. funk and traditional African rhythms With raw political polemic. New York-based collective Antibalas i‘anti-bullets') have appended heavy bass and chunky brass to some choice criticisms of the American administration and Saudi governments i’aiiiong others). their warm. funky sound fully embracing the Afrobeat spirit of anger and celebration. This is most dramatically felt on extended Jams such as

‘Elephant' and 'Sister' although yOu can't help feeling this seven-track cut is a poor substitute for the band's captivating live shows. (Allan Radcliffe)


(Track & Field) 000

Denver's Dressy Bessy have been around for over six years now. and with bubblegum pop and an appearance on The Power Puff G/r/s soundtrack. it would be tempting to think six— year-olds are probably their ideal audience. But on closer listening. there's a little bloodlust under the sugary coating of singer Tammy Ealom's vocals. the likes of 'This May Hurt ia Little)" more suited to backing Itchy and Scratchy than the cartoon stiperheroines. Although for my money. their name. sound and psychedelic artwork all make for a band born to proVide backing at the prom in an 80s coming of age mowe. (Emma Newlandsi

ltCl-l HOUSF

VOY ShoulderQShoulder (Soma) COO

Glasgow's Soma are good at that they do. Excellent. in fact. They've found then seiind and are sticking

with it solid dance music with a tech-house slant. Slam. Master H. H Foundation. Percy X and Funk D'Void are all brilliant artists in their stable. With previous releases on Peacefrog and Plink Plonk you cannot dispute Envoy's talent. soulful techno grace and spellbinding vocals. but it Just sounds a bit too much like a Soma release. Loved by the likes of Carl Cox. this is sheer quality but sometimes you crave a bit of variety.

(Henry Northmore)


THE DATSUNS Outta Sight/Outta Mind

iV2i 000

Their eponymous debut blew away the cobwebs. a riotous sermon of all that rock should be: good times. hard riffs and plenty of swearing. Now back with John