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Pity Lou Reed, who's been spun the yarn that putting his name to Dab Hand's mutilation of his glorious ‘Satellite of Love’ (BMG) u will catapult the doddering dude to the Kidz. It might, despite sounding like a Stella Street mobile disco.

Similarly lackadaisical resurrection is given to the Ones robotic ‘Flawless' (Sony) 0 over which George Michael grinds like a pole dancing Pat Butcher. Noticeably, there is a ‘superclean’ edit. the inference being that George is very dirty, a trait wishfully projected onto Ash guitarist Charlotte Hatharley by pubescent tykes and their bored dads. Hatherley’s claim that her own songs have been floating around ‘for fucking ages’ is given credence by ‘Kim Wilde' (Double Dragon)

«0 being a Io-fi crib of ‘Kids in America‘.

Though Mr Michael instructed his flock to listen without prejudice, many still need convincing that ska can be brittle and compelling instead of crap. Renounce your allegiance to cool and plug into the anxious fizz of Single of the Fortnight . ‘I Love You “Cause I Have To‘ (V2) 00000 by Dogs Die in Hot Cars. Fend off images of Buster Bloodvessel with the mantra “the Specials/the Beat'. Trust me. it‘s that simple.

Among the troops aligned on Scotland's west coast to welcome the warm rain are Weegie artisans Red Bee Society. who swagger through ‘When We Talk of Horses' (Gantry) 0000 and the equally contagious Star 69. whose ‘80 What is the News' (Pet Lamb)

0000 is as achingly pretty as Dame Moz gold. News of Brazillian boy band 1471 to follow.

Although the hand of producer Liam ‘Toerag' Watson leans welcomineg over the tender swoon of The Ducks’ ‘Shining Moon’ (Mecca Holding Company) on and the frosty sheen of Simon Raymonde compensates for the limp ‘Just Want to Live‘ (L009) 00 from The Open. not even being a Really Nice Bloke TM can atone the florid cesspit of ‘Friday’s Child' (BMG) 0 from Jamie-Cullum-of—Soul Will Young, a man who would be floored with one trickle from Lisa Kekaula's caramel-coated larynx. Showcased to the orchestral stutter and beat spangle of Basement Jaxx, she's fearsome in ‘Good Luck' (XL) m

Terrifying for other reasons is Young Heart Attack whose ‘Starlite' (XL) 00 could be mistaken for Bonnie Tyler guesting on Rick Springfield's “Jessie's Girl' and almost as much fun as Outkast's ‘Roses' (BMG) «00 . a buttock-bouncing groove splattered with steamy guitar funk.

If spelling isn't a priority for Outkast. grammar isn‘t for Tarantino-approved 5,6,7,8$; a fact of no consequence in the blues-riffin’ banshee hurtle ‘Woo Hoo’ (Sweet Nothing) coco . Brooding in Weirdo Corner is Campag Velocet, who have finally arsed themselves with a new record five years after their debut. 'Vindictive Disco' (Pointy) cm is the sound of pill- popping droogs razzing through Mary Chain covers. Wonderful, naturally. (Nadine McBay)

102 THE LIST 2/1 Jun-8 .Jul 2004

music. Republic of Loose are worthy descendants of the likes of Alabama 3 and the Fun Lovin' Criminals. Formed in Dublin in 2000 by brothers Michael and Dave Pyro (possible aliases. we may point out). the quintet lampoon themselves as cartoon bandidos on the front. but the sound is more a taut approximation of Sly Stone's city-slickin' groove.

Songs like ‘Hold Up!“ and ‘Tell More Lies' roll with a heady swagger and flagrant mention of ‘topless dancers'. while track four is the closest they come to Barry White sex-funk. Its name? ‘Girl I'm Gonna Fuck You Up'. Clearly a parody. but a pretty good one.

(David Pollock)


The Silent Hours (Loog) oee

'I know people are going to get our music.’ says Open frontman Steven Bayley. ‘Because it‘s brilliant.‘ Think global stadium t0urs. acting on the local scene. then, for the Liverpool five pieces debut. And all the singalong, lighters aloft prerequisites are in place to push things forward; wistful but hummable melodies. lyrics covering a fair range of emotions. But while it‘s doubtless nothing short of epic throughout. whether there's scope for them to ‘Step out of the dark. and face the light‘ as per one refrain. and reach the dizzy heights of their convictions remains to be seen. (Emma Newlands)



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Created entirely by singer/songwriter Stephen Coates (aka the Clerkenwell Kid) and inspired by Glen Duncan‘s book of the


JOSEPH MALIK Aquarius Songs (Compost) .0.

ln reflective mood

Joseph Malik’s second album sets out to reflect his many years as a DJ/producer and club promoter throughout Scotland and beyond. There is no doubting his remarkable musical pedigree and Aquarius Songs, his second album proper, is an intriguing blend of lush samples, dance/soul music deconstruction, polemic and old fashioned political passion. This may not have the eternal shelf life of his summery first album Diverse but its reach and ambition is impressive nonetheless. The opener ‘Aquarius Songs’ seems to signal that it is business as usual in the jazz funk fusion universe of Malik and producer David Donnelly. But the album soon breaks itself down into a chaotic blend of Serbian horns, Wonder-esque rhythms and unfamiliar breakbeats on songs like ‘Diablo’ and ‘Casualties of War’. It's a giddying ride which may initially turn off fans of Malik’s charmed and charming talent. But this is worthy of repeat listening. Particularly interesting is his fearless homage to 805 NY house music ‘Believe and See’, featuring the perverse talents of Edinburgh DJ and producer Aqua

Bassino. (Paul Dale)

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same name about the Devil taking human form, /, Lucifer is Quite possibly the most eclectic album you'll hear this year a mishmash of Coates' vocals and grand theatrical samples.

Introductory track ‘Bathtime in Clerkenwell' is the most recognisable track in its bopping 30s jazz style. although surely not the centrepoint; ballad ‘The Ugly and the Beautiful' is lyrical loveliness. ‘One More Chance' is a characterfully sleazy torch song and ‘Someday' is a masterfully bittersweet lullaby. ‘lt‘s all so lovely even I could pray' is the heart—stopping coda rich, rewarding and generally gorgeOLis. (David Pollock)


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Blessed are the meek. for they shall coin it peddling delicate but universal acoustica to the masses. One of the lesser known maxims of the rock'n'roll Bible. but one applicable to varying degrees to this trio of Scottish singer songwriters. Ally Kerr lays down the gentlest of gauntlets with an ethereal but upbeat collection of finely crafted songs produced by BMX Bandit and general Glasgow indie

stalwart Duglas T Stewart. ‘l'm glad and very privileged that it's in your hands.‘ says Kerr in the sleevenotes. 'That‘s a lot of responsibility that I don't take lightly at all.‘ No problem, but there's competition from the east coast in the form of the fantastically named Norman Lamont. who bolsters his Jonathan Richman-style debut with some rockier moments. some a capella and even ‘The Ballad of Bob Dylan‘ done in the style of the gruff troubadour himself. It also features the G on drum and general percussion duties: Graeme McDonald. as he's otherwise known. covers similar territory on his own fifth studio album. but With a bit more of a folk blues slant. and the Odd quirky intro sample thrown in for good measure. Aside from a questionable tribute to fish. the reSLilt's a catchy and original record. (Emma Newlands)