h)’l'_ i.’ "\lf" K ‘3’

[\(J d' 1! ‘v ..I J / I (:1'{:r,’1'.; 1‘ {,7 {ll/‘l/i ‘J “M DISC“, ;’/)f’ ’tfr'rre t"on: ‘Kir'k T', “:‘2‘. ','-’,r’. 9‘ Meal, SISTERS 'r e'at' Uri (r: Us! . f'-ere

,'1'(» lpUly’jr/rr

'nlir‘t‘r‘r; / r(.,r}|?'7 fr” , guitarist

(,rit ’, , fxl’rl'.«il rill’l t)!

Em, of Joti'i, Her)".

lion does one fo'iru'.’ an allirirri tlrat sol/l more than anyone else". i'. the .lill‘i‘1llf,‘7 pusher, the

UK in 2")”;1‘. {in/l

recon) cit iser to


Plenty of local interest stuff this issue. so let '3 crack on. Forres outfit Dan Against the World show plenty of confidence and gusto. but their ‘As Their Kitchen Sinks EP' (demo) 0..

sticks too closely to their Yank college rock influences. particularly Weezer. Glasgow singer songwriter Keiran Docherty creates a slick piece of folk pop with ‘Fall From Grace/She's the River' (River) .0 . but the triumph of earnest pomp over melody and imagination lets it down.

Much more intriguing is the unholy racket of Glasgow foursome Vancouver Deluxe whose ‘The Black Hearts EP’ (demo) .0. comes across like the sick mongrel offspring of Ministry and Sigue Sigue Sputnik. Annoying, but different. and therefore good.

Also different and therefore good is ‘Carry Me' (Human Condition) .00 by Royal Treatment Plant. The London five-piece (local by dint of being on Edinburgh label Human Condition) deliver a no-frills fuck you of rifting indie pop. like Blondie or The Runaways airdropped into a new century.

Attempting a similar thing but less effectiver are The Hedrons. Despite crunchy guitars and throaty rasps. ‘I Need You' (Measured) 00 somehow falls short of having the necessary oomph to impress.

And so to bigger guns. Beck's ‘Cell Phone‘s Dead' (Interscope) 000 is pleasant enough squelchy electro-funk with trademark white trash rap over it. but it's also the sound of treading musical water. Similar, but more energising is Hot Chip's ‘Over and Over' (EMI) 00” . A clanky. grimy piece of DIY geek-disco. its nagging melody. scuffed rhythms and scuzzy guitars are downright irresistible.

As is ‘When We Were Wolves' (Bella Union) me by My Latest Novel. A strange and intense folk anthem, it's like The Arcade Fire dancing round a wicker man. and is the sound of a band entirely confident in their own originality and vigour.

But Single of the Fortnight goes to a great band of a different vintage. The Lemonheads' “Become the Enemy‘ (Vagrant) 00000 sounds like they've never been away Evan Dando‘s gloriously cracked voice. the effortless pop genius of the melody. the deceptively clever lyrics and the heart of purest bittersweet joy. Fuck. it‘s good to have them back. (Doug Johnstone)

,;3 Loud


(3') “I'M.” Y/t‘l‘ '.‘. F [7‘>{“11’}f‘7"‘t)'\.. it‘f'v ‘i’l'l

r,»:r‘.ersei, it". 'n )r'"

I)_MII|'7, .f‘)‘ .t‘, strut" (titli’fl il‘hx' 'lelr i’ Marl/innit

producer (Stuart Pr ~-

'7 .b‘.($(.{.'l

can". saye Am: Matronrrfl. le ill .’ it .il ,r‘ the hlarrrll, prrrr,

r’ou Ur“, hut err/thin“)

else works. irir r'iing tl‘e

parzirioirl 'rlr frink ( it in iriiis trar k I'xirir;.r.s.'r ir it‘ll/till) 1 (:er

Hf )( LK


Four on the Floor ll lasslei 0...

While Hrorly l,)isti|ler"s husy lieirig l)l(tr)(l‘, and all re'narris guiel on the Courtney front. its left to this llollywoorl actress tur'rierl rnusrcian to out till the hig hoys. And she's (lone it again with Four on the floor; her hands second collection of catch\’ r'ortk stonipers. this tune featuring the rhythmic force of a certain Dave Crohl. Firing on all cylinrlers from start to finish. the alhurn perfectly captures Juliette h’. the l icks' notorioust cra/erl live perforriiarices all fast and furious l); sslines. squealing solos and thundering rlr‘urns. However. it's Leta/is riiagriificerith husky. anrl passionate (l(}l|‘.'(?l\ which makes this unahasherlly fun {llt(l frolresoriie listen so compelling. rCarnilla Prat



Drop Till It Pops (Moshi Mosliii .00.

Modern music's liarnix, army has some new

,"\ l‘lll't

k l I” K

‘herr r f' titlrtz, lilllirtl start strip iri,thnis anrl’ illlttllf“lif;l‘,'

litres. trlft.

lielorx. par heat tr ‘Xlllfl. llot Clulr De Paris at tinies run the risk r:f over tlttltkilirl their Sligttiti‘,’ ’,f"{1tlflll(i. llo.‘.re\.~r,-r_ their tight grip on killer rrielorlies anrl theek‘. hurnour keep this utterly Vliill arirl inueritrxe rerorrl frorn e.er rlrrftrng into ozrerlfi, cerehral territory .lust (font {to railing i'. orlrl rore. .rflrirnilla Pia»

(Ll A5353)“ iAl FELICJA BLUMENTAL Polish Fantasy rBr‘aria Recor'rlsi O...

If your irlea of a Polish fantasy stretches as far as sniokerl sausage irrasherl (town hi, a glass of \.orlka. then it's time to listen to Braria Recorrls' latest release. Despite the recent influx of Poles to these parts. the classical rnusir‘ of therr hornelantl hasn‘t l‘arf anything like the enhanced profile it deserves. With three '.'.ror'ks featuring pianist Felicja Blurnental, twc for piano and orchestra t); Parlerewski and the middle one the Par’tita for Harpsmiorrl h; Penrlerecki. this is a CD where late 19th century i,'ri<:isrii and stirring folk

5" .r 1 \y, i 0 l 1 ii i '0 ° . t "r r l

u ut.' ll "r r r ‘l.i':'l i ' :l 'ol "'r i t i' (‘9‘, tr 1 ' to 1'. tl‘m'wr‘ it 'i "}l'li]‘\ in

trim, 'err .ritwr it her ri'r'M'ktll w-rrtrlrt. l‘wl

pianist (Earn il M ii'w

>\lrJ()[;:f\‘/)PJS'III;:1'EF' BADLY DRAWN BOY

Born in the UK

t MI 0.

lhrs fifth allrurn fr'ir'i f‘l‘ll.‘.’llllf‘ Mancunrar‘ trouharlour Harll‘,’ [)lil‘flll Ho, paras. h,’ [)arnon (‘rough's o.'.rri dflllll‘S‘HHH, his harrlest to rnake. Anri. Well. you can trill. hecause it simply isn't any good. llavrng riioverl lrorn inrlie latiel to rriaror (Bough seerns intent on arrning at the rnainstrearii With the result that. as the arrangements get higger. the choruses lilanrler. all Coughs uniguely guirky style anrl touching melancholy is washed aux/a; Willi the exception of the pleasantly aritheriiir, single 'Nothing's (iUllltél Change Your Mirirl' this is rlrsheartenirig BUB ti, nurnhers. Gough sourirling like a pale shariow of his torriier creative self.

rDoug JOllltfrl’fllfri lNUlE Hf )CK


The Lemonheads lVagrant) 0...

At their peak. Evan Danrlo's Lerrioriheads l‘irilliaritly combined the slacker punk power of grunge '.‘/llh perfect pop rnelorlies. and while this is; not guite a Vintage

\" 'u'ttll

t. .t rat " ; wruudih

'vtu'r‘ .itti-r "'l‘ri' ,ia's E'ilrstrirt tliii

rf“"\ry K“

-r tir‘n A? li' ti") it)", l‘.!lr)r (\li‘ iittit The [in-s, t‘l)rl!'.’ll‘§ his tl\.i‘lt [tirirlii's !l i". .in l t‘rtfe'sswr-t talc“. -l riairo-rtrtrg retire-gt, rllli' lWillli‘l .1 r‘.1.is« i‘. '=il rillt‘r ~iriii Kliwt'e-‘T T" rih fr illlllr h ".' ' .'."li- “Lil ['i'lii‘i‘t (wk, riot twin. lint titt‘lo- l‘. writ it. til rl liti‘ (tilltz'lllrtltlli'tlrlfl ]~'lllli". inexrlenr where rxix. .‘.’|lll a finite. t irlif threat. ri-rtrwt .‘.tii. ‘i ll ix“. it no harrii it all i[)ourl.lihnstrirew

MIKE STERN Who Let the Cats Out? ll learlt. 1 Jpn OOOO

A strong outing from the

)a/x fusion guitarist. llll‘Xlllfl funk tilues and rock ‘.‘/|lll a straight ahearl jél/z' feel in vern,’ effergtm: fashion. Stern hrrnself is in fine fr inn. and the asserrihlerl cats that he lets loose crank up a satisfying ellirl’); arirl llt‘.v(:l‘i't|f)ll.

lhey lll(,ill(lf: vocal (,()llllll)llllf)ll‘, from h; ssrst Hirhtirrl Boria on a couple of tracks, sorrie 'rlll)‘:rl) rlrurrirning lrorn Kiri. lhornpsori, [)ave \"Jeckl arirl Victor Wooten, long terrn collahorator .Jirn Bearrl on keyhoarrls. arirl hassists Meshell eregecr,ello. Chris l/lirih Doky arirl Anthony Jackson. Roy l-largro/e and Bob Frariceschirii arlrl horn contributions. while Gregoire Marc-t", sinuous harrrionica features on the atrriospheric ‘Texas'. (Kenny MathiesOn)


62 THE LIST 57719 Oct 2006