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in artery. and for irrari, tll',’li1tr ’,ll;i’l(r.'/ CF18? arr/xx, popular culture outweighs hr, rr‘iisical equiit. "The Beautiful l’eople' and Disposable leeris' are .‘llflUllt, slices tn towering pop hooks welded to subversive ‘l,'flf,'>, while ‘lhe Nobodies captures the alienation of ,outh

flawl :ssly New track. a cover of Depeche Modes "Personal .lesus', slithers in perfectly amongst the disturbing electro— indiistr'ial-goth—pomp rock. A truly unigue character in modern rock. thank God (or should that be Satan?) for MM.

ll lenry Northinorel


Antics (Matador) 00..

With their dapper suits. pasty complexions and enough swagger to unnerve the steeliest of dandys. Interpol looked the part and for the most. sounded it too. Torn off the Bright Lights was dark. menacing and often magical. For Antics they seem to have softened on the rockisms. leavrng more room for melody and even a streak or two of humour.

The songs seem more confident and as‘SLired and the slightly out of time 'Evil' and first Single 'Slow Hand' are nothing short of tremendous. Happily at odds with fashion. rt America wanted their own glower'ing. dour reworking of Fran? Ferdinand to clutch to their bosom. then here they. (Mark Robertson)

R88 VARIOUS Random Soul (Random) 00

lt's 1989. Soul ll SOLil are number one. R88 as we know it today is in its infancy. and the bright. shiny envelope-pushing

incarnation of its COdsin f'wp hop is a still Just a rilir‘t rt tr‘ue rrilkri‘an's 0,": Tt‘lS COW/,Tl’zli Of ‘jV/JTJ,‘ Ktrli, "apt: ballads would 'ia.'e been a ’tecerit proposition then. but these da,s irrrlistiriguisnable tracks and staying rigidly within sorr/erition just ain't good enough. One incongruous song title i‘Pirnps, Players and llustlers'i only highlights the contrast between this and what was to come next for music. The Ratners of urban

(Emma Newlandsl



(Caber Music) .00.

Phil Bancrott's Anglo— American-Nonrvegran quartet were hugely impressive when the saxor'monist first brought them together a COuple of years ago. and this eagerly antiCipated recording underlines their qualities. Bassrst Reid Anderson's commitments wrth the Bad Plus have seen him replaced by Steve Watts in recent editions of the band. but he is featured here alongside the highly original guitar work of Mike Walker and Nonrvegian drummer Thomas Stronen. Bancroft agile and atmospheric composnrons generally belie the title. unfolding in spaCious fashion through a high level of creative interplay and absorbing manipulations of sound and texture. This album is Gaber‘s final new release pending a major revrew of their operations. and confirms what a maJOr loss the label w0uld be. (Kenny Mathiesonl

AV Hl-JlNX HEXSTATIC Master-View (Nlflja Tune) 0..

Trumpeting oodles of looney leftfield tomtoolery in the best Ninja tradition. AV

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luminaries Hexstatic ha'.‘e pr’ylliceit a phis" DVD 'it wdeos tr; accoriipan, their new album i't/i'aster~View

More content—specific than music ‘.”l(l(:().‘3. the AVs add another charming and cheeky dimension ior two) to what is already a quite passable electronrca LP the usual Zen nuggets wrth an assortment of soft and hard centres.

Whip out a pair of (it) glasses though and you've a third. significant motivation to wow friends and family With your new demented JOy-toy. as the bizarre Visual renderings leap about the ering room before your very eyes. Inspired. (Mark Edmundson)



THE HEPTONES Peace and Harmony: The Trojan Anthology (Troian/Sanctuaryl

Who would have thought bringing together a welder, a mechanic and a newspaper seller would have such a joyous effect? In a musical arena that prides itself in muchos heavrness. the featherlight vocalismg of this legendary trio is a welcome moment of pop Sunshine.

This hefty. two-disc 46 track anthology revrsns the band's career from the Wi//iam Te/l Overture pinching ‘Gunmen Coming to Town' in 66 through over a decade of upbeat skanking and heavenly harmonismg up to the tail end of the 708. The influence of Motown espeCially in their early years is apparent and theirs is as accessrble a reggae sound as you're likely to find. (Mark Robertsonl

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(Electronic Artsr no”

This should be called Burnout 2.): Blinking is ft ).’ the l/‘i/o'ik. Lose your fear. morph into your roypad and hit that infamous gaining 'Xone'. Stare as if in a stupor. Move your fingers. thus your car. in f3‘.‘.’lfl. incremental tt'ritches. llear nothing but the engine. See nothing but all that is coming. And when the stage is over. when you have won or lost wrth style. you will blink. And it Will hurt. Dry lids scraping across reddened eyeballs. Then you Will go again.

Burnout has slowly evolved from a racing game that demands playing on marijuana. to a drug all of its own. The boost your speed gets when either an offensive or a daring defensive movers pulled off wrth Split second timing becomes something to crave. Even the crashes are infectious wrth you controlling what is happening in hypnotic slow-mo. racking up multiple pile-ups wrth balletrc. ballistic grace.

And you can get your friends hooked. become a pusher. The party Crash mode rs spectacularly brutal and pulling strangers off the street Simply to play it soon becomes a vrable option. Zombies the, will become.

On yOur first hit. before the drug truly kicks in. yOu wrll mamel at the speed. Not Just the scenery roaring past or how odickly the other road users become embrOiled in yOur mistakes. but the speed at which the car-to-car combat works effectively. Fight yourself.

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53o Kill“. (me fllt iris (till liu‘, {ii/rt: .w‘ takeocizn \r’oiir r‘wrt; .‘.lll coiriplain trut your gaining glands will ir )‘.r' you more

Xl‘ltu SUDEKI (Microsotti 0..

How often do you notice bad accents on the radio? Or on the televrsioii'? In the cinema? ()bvrously there are exceptions. the stupendoust chaotic rariiblings of Heather Graham in From He//, for example. but in general actors are pretty good at the accent they are acting in. And if the, are not they don't get the part. So '.'./hy are computer games so bad? ls FZQlllt‘y' boycotting games? Sudekr, an otherwrse enjoyable and engaging RPG. has [)Ofifilhl‘, the most outrageoust poor accents in acting history.


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2'1 See—7 Oct 223-1 THE LIST 109