Lambs; JELLY ‘64 to '95 2 C...

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1' wr "fi-1;i‘r..'l(}:i' .'.’t".lt l: features ttlt: int t,ll7l)itfill)|f' \‘v’rllurr‘ ESliat'it-r on vocal); are t‘.'.t, rarr‘tiurir‘trous >4 ‘Rt'Vltlf; tv a .arlcd rlisltxtron .'.'l‘lfi.‘t ranges in 7': languid was; cheese

toriwnotrt l‘lilfsttti.

It takes a while for the :illl)lli?ll(‘ti tr: 'ti-J to '95) to tulix err‘trrge but once the. do. lllt: re‘.'.ard:; an: liaridsarr‘e. Mark

Robertson.

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l'rorr‘ the same stable as Pr.‘.':uato Fine and Dirrtrtn trani Pans. Mzarr‘i hat Alex Gritteno. AKA Ursula 1000. is a Sl‘tl‘fil‘ Arr‘errt‘an DJ to spins and records sam;_>iatielet: east listening hreakheat tracks. U's‘ala ’tlt‘tl is his second mix album lthe 'llS'. {‘Cillg 3000.8 Ar," Sisfe'ns 4/8 Gt‘-Gt“. WIS has clearlt been honed t“, tao n‘ant hours spent rrt‘rhg in Miami's thr'rt’. arm retard exchange ster‘es. Topped and tamed heauttailt t“, Dr Rtrt‘tinfiKS

't. llut‘rnaton ‘Bossa far

68 THE LIST .‘t‘ sad—3 Let‘

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LOW The Great Destroyer F1 .’1"l’€tll‘: 00”.

I l ow MHE GREAT ’flESTBflm

You're adored l)‘, those in fire know: for lierng the slots/ext. ’turetest hand in the .vorld. .‘rrth the 'r‘ost beautiful. delicate vocal ltarrr‘ortres exer' recorded. So .vhat do ,ou do on alpun‘ nurr‘per eight? lhat right. turn up the guitars and r'take a monurriental rock'n'roii record. And it's fSIllllfl‘y fucking arrta/rng. The Great Destroyer rs a brave. adtentur'ous and astonishing alhurrt. hlendrng the Mormon trio's ama/rng ear for ltl(?l(lll(:lt()ll(; melody \‘rllll a newfound love of the distortion pedal. creating something drarnatrc. dynamic and thrilling in the process. 'And I'll stop Willng songs] they declare during "When l Go Deaf'. For the love of God. please don't.

tDoug Johnstonei

ELECTRONIC/X

THE CHEMICAL BROTHERS

Push the Button iFr‘eestvle Dust Vrr'grni OOOO

Five altjurr‘s into their career. the Citellhcal Brother‘s tornxila for success .s so tried and tested thet leOLrtd out 't on the national txrr'r'rculuh‘. Big stunting treats clus mdozt acid house no ses olus selebrrtt hates dot adding \oca texttr' equals Success. See.“

Geo. ‘..Ou an: vet. ,ust

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Elf".,ll<;")lwt';»3 LAURENT GARNIER

The Cloud Making Machine

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As a luxury only afforded the established artrst. the concept aloun‘ tends to walk a tightrope between the deeply profound and the guestionahly daft. Laurent Garnrer strays into the latter 'orrefly hut regrettably on his Cinematic fOurth album.

The C/Ot/d A/iak/rtg Machine does ask a great deal of the listener 'put rewards With some truly beautiful moments. Ambient beginnings lead through delicate JET/.7 and clasSIcal soundscapes and on rnto a heavier. darker sound that the Frt—znchrmn arguably takes a little too far.

A challenging and thought provoking piec ,. this is less a lounge affair as one for the floatation tank. tMark ECllt‘LlrtdSOflI

EMOTlONAL ROCK FEEDER

Pushing the Senses lEchot 000

You'd never hate guessed that the chaps resp0nsrble ‘cr "org dun‘b anthem 'BuCK Rogers COuld produce a record like this. The riff-oxers certatnz‘, ‘.'.'On't like :t. as Feeders fifth studio LP lS Crafted tron“ stepped dCWl‘. gatars. heartfelt

$038. Dla'TCS are a

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BRIGHT EYES

I‘m Wide Awake, it's Morning 8.: in 0000

Digital Ash in a Digital Urn l'tw alum 0000

The phrase ‘precocious talent‘ could‘ve been invented for Conor Oberst. the man behind Bright Eyes. Having made tortured, intelligent, extraordinary records since he was 14, the 24-year-old Nebraskan songwriter has plenty of experience, and this brace of albums could well see his band‘s profile finally clambering out of the indie underground. Releasing two albums at once is an arrogant step, but on this evidence it‘s fully justified.

Much has been made of the difference between these two records (they‘re meant to be ‘the country album’ and ‘the electronica album’) but in fact they are not that dissimilar. For those familiar with Oberst's back catalogue they simply distil into two components what he's always done in the past, blending traditional songwriting with experimental urges.

Of course it’s impossible not to compare the two. I'm Wide Awake . . . is certainly more commercial, the stripped down, countrified arrangements exposing Oberst's often painfully honest lyrics (think Dylan intelligence with Springsteen attitude and a big splash of self-hatred) being balanced by the presence of Emmylou Harris’ beautiful voice duetting in places. But for all that record’s gorgeous simplicity, it’s Digital Ash . . . that is ultimately the more rewarding collection, taking longer to get into, but paying off big style. There are moments of songwriting genius scattered across both records. ‘Lua’ from I’m Wide Awake. . . is a breathtaking, heartbreaking modern fuck-up ballad worth the album price alone, while ‘I Believe in Symmetry' from Digital Ash . . . is the best Idlewild song ever written. Oberst’s eyes are clearly shining brighter than ever. (Doug Johnstone)

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pulrlrr, to Gurnesf

retgordirigf. fur Eff/ti“ H Beneath the Surface: N‘MV "‘ " “H "T m" " Bella Union Sampler

curios, featured t' r: Hr; ,, .....

Triple CD box will set

VARIOUS

stirring t)€:ift)flll{tltffif: .‘"<." frontrtian Grant N'Ct‘rifléif: -.'.'.‘.o seems to have that, found his voice Less Stti’et)t)t‘-O7‘zi::s and rr‘cre Snow Patrol. Parse/rig fife Senses a moving an} duletl‘, g'aeetul recor': fron‘ a hand unafraid tc push their 530.1(th -r: new. directrons. And even 0' t

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:sn t the nmst excrtrrg reissues that is trtrl, P A. .,:r.:' 3': i' r , exoerrrrientar of efforts. if urtrgue and does" t "a" ‘1, " ' ' rs easrl‘. Feeders fees: I M ‘r " r "r

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