Music RecordReviews

www.|ist.co.uk/music

[11 l CTRONICA VARIOUS

Fabriclive 41: Simian Mobile Disco

(Fabric) .00.

By rights Simian Mobile Disco ought to be detestable. The production and remix team are responsible, after all, for the post-’We Are Your Friends’ decree that every NME-reading first- year university student to start an indie disco in their union over the last two years must claim the duo as their number one influence.

The name Fabric on the front of this compilation CD should be a mark of quality, but the SMD moniker inspires trepidation. That’s born out by the jingly, incessant intro of The Firebird’s ‘Infernal Dance of King Kastechi’, although the complementary but sublime Sisters of Transistors are right behind it with ‘The Don’. All the fan-pleasing and similarly vocal-heavy efforts are right there up the front, including the Serge Santiago mix of Hercules and Love Affair’s ‘Blind’ and SMD’s own ‘Simple’.

Then, believe it or not, it turns into an actual, proper mix CD, one that is aimed at the dancefloor rather than ticking names off the Cool List. The cut’n’paste ambience is somewhere between trance and acid, with a healthy dose of chill-out thrown in, and the finest tracks include Discodeine’s ‘Joystick’, Deadmau5 vs Jelo’s ‘The Reward is Cheese’ and Metro Area’s minor after-party classic ‘Miura’. Then the closing double of Green Velvet’s strident ‘Flash’ and The Walker Brothers’ charming ‘Night Flights’ is inspired.

It’s not perfect, but writing SMD off is certainly doing them a disservice. If only every militant young bedroom DJ who name-checks them could put together a set half as good as this

one. (David Pollock)

cmmcr ROCK VARIOUS

Antipodean Screams (Off the Hip Records: O...

Australians are famous for many things but the duality of therr‘ underground garage rock rs not one of them. This fact is a travesty. as this rnarrrrnoth double CD slice of cherry pie erl attest. At right angles to faslrron or tad. these bands prevail in

34 THE LIST .' )3. Aug 1’(,"rI--.

their own fertile underworld. knocking out adrenalised rock'n'r'oll in all its shapes and colours wrth furious abandon.

Those who turn therr'

snouts tip at this kind of unasharned retrorsrn are being short sighted. this music is as Vital and valid as any contemporary artist. the likes ol Ian Brown or The Verve ape their bygone age also. arguably wrth less etfect. Most of these bands teatured wrll barely get beyond the basements they currently dwell in. but that doesn't matter. (or the greater part. bands like Persian Rugs. The Booby lraps. llre Shrmmys and lhe Pink lirts do this tor the bu//. not the tarrre and fortune ego trip something that makes their music sound all the more fresh and exhilarating.

(Mark Robertson)

llll’ l lOl’

JON PHONICS Half Past

(lllsrnrth Productions) 0..

UK hip hop rs hard \.'.'or‘k. but Jon Phonics looks like an exception to the rule. Half Past, trrs debut album. plays host to UK vocal talent. What's interesting is that his approach to production seems to have got the best out of MCs who prevrously carrre up way short. The beats are dynamic. soulful and refreshingly grainy with the album riding on deep ]£l// influences and old school sampling. He comes up trumps on

cu s such as Remember". ‘Mor'e lon'rard' and 'In the t5nds'. ihe tact that this rs a tree download rs a statement in itsell, This is a British producer you should give a little trrne to. (Steve Cierrcross)

lllClRONIA |N[)|l UNKLE

End Titles . . . Stories for Film

(Surrender All) 0..

James I avelle has been joined by Pablo Clements (The Psychonauts) for the latest incarnation ol UNKl l”. Collecting music scores and

soundtrack work End

Tit/es. . . seamlessly drills from grungy dance beats to almost classical rnstrurnentals.

The rnusrc is as influenced by the likes of Radiohead and stoner rock as dance culture. Names like Josh Hornrne (Queens ot the Stone Age). Chris Coss (Kyuss). Black Mountain and even director Abel Fer'rara (Uni/er Killer/Bad Lieutenant) iostle for space provrdrng guest vocals. But rt rs acoustic artist (Bavrn Clark. who appears on live tracks. that anchors the album With hrs low—key emotive vocals.

(Henry Northmore)

l Ol K

AILIE ROBERTSON First Things First

(Lorrrner Records) 0...

Attic- Robertson

Edinburgh harprst Arlre Robertson has picked up an arrnload of prr/es at successive National Mods. but that should not lead you to expect a very tradrtrorral approach to what is arguably the most traditional of all Scottish folk instruments. The harprst is pushing the rnstrurnent in fresh and coritem;)or‘ary—soundriig musical directions. and this debut recording confirms the lllZl]()f prornrse that she has shown.

Her lovely. evocative execution of slow airs is particularly impressive. but she is egually intent on underlining the tact that the harp is also an appropriate vehicle (or (lying )rgs. reels and polkas. all dispatched in Vibrant. sure—fingered style. She is supported by a line band featuring James Ross on piano. Ewan Robertson on guitar. Duncan lyall on bass and Paul Jennings

on percussion. They are an effective foil to her own expressive interpretations and virtuoso technique as lead instrumentalist. (Kenny Mathieson)

ALIROCK JAGUAR LOVE Take Me to the Sea (Matador Records) 0..

Formed from the ashes of Seattle art-punk luminaries Pretty Girls Make Graves and Blood Brothers. Jaguar Love consists of veteran sguawker Johnny Whitney. former bandmate Cody Votolato and Jay Clark. As the creative force behind PGMG. Clark brings a much-needed melodic darnpener to hrs bandmates more dissonant proclrvrtres. Whitney's lyrical rrnagery rernarns as Visceral as ever. and the songwriting displays a confident maturity that showcases the vast collective experience of this group. However. despite the surprisingly pop sensibilities of this record, many of the tracks lack bite and too often rt is only Whitney's remarkable vocal gyrnnastrcs that prop tip an enjoyable. but largely pedestrian eflort.

(Oliver Farrrmond)

l'Xl’l RlMt NlAl INDIE- ROCK

PONYTAIL Ice Cream Spiritual (We Are Free Records)

llarlrng from Baltimore vra Pennsylvania and Japan, Ponytail (aka Ken Seena. Dustin Wong, Molly Siegal & Jeremy llyman) finally gel courtesy of this rather wigged-out sophomore set; therr first was the hair-raising Creative Ct'tpita/rsm. Spasmatic. complex. but well-groomed, this

ALSO RELEASED

Vessels White Fields and Open Devices (Cuckundoo Records) Engaging Battles-esque trickery from this post-rock five piece from Leeds. This release does much to capture their incendiary live show. Mason Jennings In the Ever (Brushfire/Ire/and) Strongly reminiscent of labelmate and pal Jack Johnson, this well-paced collection covers fatherhood. Spirituality and love in Jennings' familiar laconic style. Daniel Wylie Car Guitar Star (Neon Tetra Records) Despite being littered with the usual jangly guitars and sun- blushed melodies, this third solo album from Wylie exudes a darker feel.

The Cool Kids The Bake Sale (XL Recordings) Midwest rap duo Chuck English and Mikey Rocks inflect this unbelievably good record with a healthy dose of noughties minimalism and 808 cool.

Stereolab Chemical Chords (Duophonic UHF Disks/4A0) A mix of Old and new in ‘Chemical Chords'. the 1 tth studio album from Stereolab. A tighter, more focused sound permeates.

The Pack A.D. Funeral Mixtape (Mint Records) A lean. mean blues duo in the mould of Black Keys and Janis Joplin. this sophomore release should further consolidate the ground staked by first release ‘Tintype'.

hippycore guartet shimmy their way through eight cues. coming across as somewhat akin to Annabella twin (Bow Wow Wow) in bed With fellow alt—80s acts Gang Of Four and The Poison Girls. This is aesthetic opera for the Big Brother generation. (Martin C Strong)