E/..',/ l ile twirl/i TONY BENNETT The Art of Romance iHlll/t Flor/,rrls

(IUIEJTT’lxldi

lho man who was lioin Anthony [)oiiiiiiir,l«. Honor lotto ioloasos lllttl (llllITLllll lflfltli alliuiii Not a ioal statistio ot r;ouiso, hooausi: l rank only kill iws how iiian‘, alliuiiis tho liouttantorl l)()\/ lioiii Astoria. NYC has ioally plUtltletl. Iho Art of [lo/iianrio is his liist in a rtouplo ot \,(:ais llr iwr M fl. Ht ?I‘Nt N :n [){tllllllltl in his Non“: York sturlio iphotos ol lolly Wllll palotlo aio holplully

couture/i firm or T? 0 zoom 'idto', 'l‘fl‘m Borinott 'ias i'~ana';o't to toa'i‘ ur: tl'o iodo'irta", {trawl nor Johiir‘, Raiiio'io Iiiirt ('ztétl'li'Y", (){Jutl .'.’llllllll(; ariaridor Jolinn‘, Manor'i l’fl lllis sirlooll‘i it liailr, roroido'l sot of it

r, )'.":t‘) Highlights iiir;liido the human Capoto ponnod ’Don't lit-to bodillitos' and Mandol's own 'Whoio Do You Start. and Hoinhaidt's ‘All tor You, Ploasant onouiih.

iPauI [)aloi

Stil l//' K (ZUl JN l Hr ESSENSNIE PRINCE BILLY 8: MATT SWEENEY

Supen~oH (Domino) 0...

Will ()lrlliaiii has lioon tioading watoi tor a whilo now. but this onoi'gisod collaboration is (:loarly tho kick up tho

(liiniiaioos'ir-F "fl nooto't Matt S).'.““."lt‘. (J‘tiitar'st (it‘ll V n; 'Ai'wu trzonrl of (lizlha'i. Croatok s'iiiio l":«t’l“'(tl iiiusiriai tiargwlioini throughout .81.; .‘.’llll just a Tll.',", ’lultai tor r;oii‘-pa.'ij,i llo iiiallarlos to .'.‘iiii<_} (t giioat iariiio tioiii it llt)‘.‘.’(j“.*t:l; ll()ll‘ tlii: raspinr; l)luos stoiiip of 'My lloino is tho Soa' to tho quasi ioliuirius (loath march of ‘(ioat and Haul. of sounds (I()llllllt] tioiii

lho divorsia ianiio

Swoonoy sooiii to hem: pioiiiptoii Oldhaiii to osr:how tho usual low iiiuiiil)lini;s and a<;tuall\,' writo soiiio hlistoiini;

BRIT INDlL VARIOUS Future's Burning lNiiilol COO

This compilation is a two-pronged assault. Firstly, it signals the revival of Nude Records, the label who brought us Suede, Geneva and Black Box Recorder before running aground financially a few years back. Secondly, it

acts as an overview on last year’s musical events, collecting together many

of the movers, shakers and wasters who have ambled to prominence over

the last 12 months.

As is to be expected, the good - Franz Ferdianand, Sons and Daughters, Bloc Party, the Duke Spirit, the Futureheads - hobnob politely with the bad - the Music and the Departure - and sneer disparagineg at the downright ugly - the ball-bustingly average Razorlight and the woefully out of place

Goldie Lookin Chain.

The ratio of gloss to dross would suggest that last year was a good year for boys in tight tops turning up the treble on their telecasters. This is an acceptable, if rather slapdash way to kick-start the label again and a good indication of what the NME’s been wetting their spandex over this year.

(Mark Robertson)

70 THE LIST 6-.‘0 Jai‘ $005

CHICKS ON SPEED AND THE NO HEADS

Press the Space Bar ohm n“ Siw-wl

«4"

, s ‘l'.’hat's this'.’ No loiiooi. it sooiizs, aio (fioiiiian liasorl throo itii' cultural t,phr win ()hii‘lxs on Spood a sass, olor:liii pop outlit, liistoarl. lhoxflr- (lortainiiMl to Bétllitfltilltl .'.'l'ill piorluitoi Cristian Vogol and Spanish lianil tho No lloails to <;ioato an avant-gaiago {tll)lllll using any old hits and pior:os which (:aiiio to hand and liuggoi us it it isn't tho host thing thoy'vo ovor (lono.

Coming up With

soiiiothing that sounds not unliko tho Shaggs oi a tuturistii: Boolhoart iiioots Bananaraiiia. this is a wondor of (loraiigorl invention and attitudo. Thoro's tho gloriously lowrl ‘History Will Outlivo Us'; tho DlY hattlolinos of ‘Class War"; "Tho Housohold Songs odo to doing tho (:loaning all proof that COS aro coiiienting thoii' placo iii cult history for years to (:oiiio. iDaVirl Pollooki

FOL KTRONIC POP HOOD

Outside Closer (Doiiiinol 0..

r

Hood's fOurth Doriiino release land seventh album all toldi sees the Yorkshire lads gouig all pop on our asses. althOLigh typically for the slightly wonky Adams brothers and pals. it's pretty odd pop. The glitch», pastoral tOlk- tronic \le‘ is still kicking abcut thrOughout but songshke‘The Negatives and recent

v 'Tvsk’ O b I ., is { 1th ' " E l’I I" ' H ' 1' " r: 1' r J“. ' I n . ‘v vim I'\‘ ‘1 "i l l". ,lw' fl‘r il"i:"i‘{“"5l ttl‘ii'} {\ 1".-°'?~Ti i‘VlO '\‘\“" I'e\ l {1‘1'\ \. tkIt‘it l‘i'v n'l l‘ii'” ' I "Mk1: .\i I.

if k;

{Tl ENTRANCE Wandering Stranger i, COO.

lfwk. *t-gh

'l stiaiiioil iiii, ontlio lloinri, ll“, yoiio ll“, l)t)(l\_ lll», ll‘lll(1.{llllltl‘i, soul to moato soiiiothini; ioal', sats t,ntran<:o_ aka 21’ ‘,(:(ll old Guy Blakosloo of his sortond long; plax'oi, Hos not wrong: this is liluos in it’s puiost loiiii, strippoil down to ‘.'.’lllllll an in(:h of its lilo and all tho iiioio spollliinrllni; loi it. lho intoriiiinalilo guitar solos iiiako tor an intonsivo (le)f:l|(:ll(l(: whon listonini; to tho wholo shohanr; in ono go. but Blakosloo's oiitlio hoai‘t and soul can ho toll in ovoiy single Jagoorl noto. l‘.‘/o parts Dovonilra Banliait. ono part Jolt Buokloy and unoonii)roiiiising in its ontiroty.

lEiniiia Nov/landsi

LLE (LlRO PUNK WHITEY

The Light at the End of the Tunnel is a Train ll’2'3-4l OOOO

London's Nathan \l Whitey, lll‘; hio tolls us. has spent tho last tori years sleopinr; rough. releasing lzi records undor rlittoront iiainos. roiiiixnig Kylie. and plotting his ro‘rongo. lt this record"; it. thon, it"; a killer. A staggering YT‘IX of claiistrophohicall, minimal electro boats and unianton cooldnt care-less gLiitars. it works on. the oancetloor and in the bedroowi GCIUBH‘J/ well.

Each track is a menace-laden better. from the Strung-Out strut Cf 'In the Limelight and Their all Behind"

\ i x t \. o. i \,l{_ o l[ n :3 NW

A Way of LifeNVhy 80 Blue

l 1‘ i "*7. rx1llzt'

A'i, llln‘ .‘Jl NWT. ::,.ll‘1t"\rl .'.T~tlll‘,','" i" t- italic-it histw li'il l‘i

l‘J " ii. i. u oh”. i‘ q tJIIl

,‘ If]. ,lly

Hi "."il ll,“ to punk lltl Sill lili- ill.» t‘iilttillil‘, ituw ie- igiiiuiitrin Ant lioiwt‘ww, tin: iopaiilxailwlaritlii- roll-await. .‘.‘ith a liviniis

li.o ilisi oaitn loi iiilrlol

valuo, Suir‘ido haw: <;loarl\,/ roiiiaiiioil llllltllllllliftl ll‘, tho lianils llltr‘,’ haw: inlluonrxarl. Martin Hox's f),"lllll k(:\,’l)(iéllflfi aro still iiiiiiiiiial iii tho oxtioino. whilo Alan Voiias 'uniriuo' vocals 'Hill otornall, sound liko tho; ‘.‘~/(:l‘; t(:(;()l(l‘:(l in a buokol. Suwh lo li approar;tios. (it (;()lll‘,(:. iiioant that Suicido iny'oiitod tlio ,Josii'. and Mary Chain and all tranoo torliiio. A lit/av of [.lff,’ (,Jlrfl‘fl) on thoir lirillianr,o l;()llllllt:lltlFtl)l,’, whilo Why [3o Blur: rlolors to a good production Joli, lr‘oiiir,all,i, it is a tilt of a lot doxrn (David Pollocki

l~l Er'Cll‘lUHI’, PUP L’ALTRA Different Days ‘H‘C‘fl y')

Tho trouble with (ll‘:«'1ll‘,’ inuSir, is that it is alxra/s in danger of sending listeners to sloop On this their third long player Chicago—based electronic d'io L'Altra do lust enough to keep the attentio'i. as tho/ drift through a landscape of lush production, (yr/eel

par; hEJTTTEOHIF:S and p