Mercury Rev - Back To Mine (DMC) 23/10/2006

T: Like the Latenighttales series, these "Back To Mine" compilations are a fascinating insight into the minds and souls of successful current artists. They couldn't have chosen a better opener than Bowie's gloriously uplifting "A New Career In A New Town" and it only occasionally drifts off into the boudoir of schmaltz, such as Terry Jacks' sickly 1974 number one, "Seasons In The Sun". Other rather more well chosen chestnuts are Billie Holiday's "I'm A Fool To Want You" and Suicide's breathtaking "Dream Baby Dream", but hey, isn't it a little obsessive to include a track by your OWN band on a "favourite tracks" compilation?!

N: Yes, another in the "Back To Mine" series, and another totally erratic selection of tracks, this time from Mercury Rev. Again, it's easyv to hear these influences coming from the band, and as you delve deeper into this compilation, the more apparent this becomes. As always, not just an enjoyable listen, but an education. More please. 8/10

web site - myspace

Various Artists - Colours Are Brighter (Rough Trade) 16/10/2006

T: Subtitled "Songs For Children...and Grown Ups Too", here we have a compilation of today's contemporary artists doing children's songs, in which all the proceeds will go, admirably, to Save The Children. Whilst some artists, notably The Divine Comedy, have bravely chosen to tackle nursery school material, most - including Franz Ferdinand and Snow Patrol among others - have selected numbers that, as the title suggests, will appeal to the older generation too. The inclusion of Jonathan Richman is something of a coup, and Half Man Half Biscuit just sound...well...they just sound like Half Man Half Biscuit. Maybe I have some growing up to do, but I've really enjoyed this mix.

N: A compilation of songs that are probably best described as the runt of the litter. A demonstration, if anything, that at times sedation is certainly required. A good cause and certainly a bizarre amalgamation. I really need to get some sleep. 8/10

web site - myspace

Heaven 17 – Sight and Sound (EMI) 16/10/2006

Last Monday saw the release of another best of Heaven 17 (well it is the season to be jolly) – but this time we are treated to 19 tracks on the cd and 15 on the DVD. The DVD features the original promotional videos which accompanied the singles, unfortunately the DVD did not come with this copy so I can’t give much of an insight other than there is 2 versions of Temptation, the original and the 1992 mix.

Anyway hand on the heals of the very successful reissues of the 3 Heaven 17 albums earlier this year (Penthouse and Pavement, the luxury gap and How men are) we have a chance to hear the singles they put out during the early to mid eighties. When I think of Heaven 17 I always think of them as a singles band and in particular Temptation, but they were more than that.

Starting life as half of the original Human League at the start of the eighties they jumped ship when Phil Oakley decided that mainstream pop was the way forward. The infant Heaven 17 decided on a harder dance floor edge and the first offering was the demo of Temptation. This for me was the track to seek out and I wasn’t disappointed. This track supplies the missing link between leaving Human League and the eventual sound of Heaven 17. When you first play it you start to think of Tainted Love by Soft Cell – not a bad song to follow I hear you say – but by the time it was released as a single in its own right it sounded more like the eighties anthem we know and love.

Other great Heaven 17 moments are on here such as Come live with me and Fascist Groove Thing, but for me I feel there defining moment was Crushed by the wheels of industry – rather ironic really

Take a trip down memory lane, or visit them for the first time you won’t be disappointed – it’s worth it for temptation alone. 8/10

Cornell Frasier Digby Chicken Ceaser

web site - YouTube

Zox - The Wait (SideOneDummy) 16/10/2006

T: I'm still trembling from the abysmal cover of "Where Is My Mind?" on their recent single, so I'll let you start this review while I'm trying to re-focus on the band's album proper.

N: For a ska-Green Day, this obviously college tinged band do hit the right mark when it comes to their album, excepting that which we previously reviewed in utter bemusement. I can't help hearing what I think is the Mighty Mighty Bosstones in their approach to this presentation. Not so much The Specials as it is a hybrid of something old, something borrowed and something new.

T: I couldn't possibly add to that because it's spot on. Thankfully it's a LOT better than I anticipated too. 7/10

web site - myspace

Clinic - Visitations (Domino) 16/10/2006

T: Like the blurb here says, Clinic are very much like The Fall, The Residents or Missy Elliott in that they are very distinctive and hard to mistake for anyone else, yet the fact that they continue to explore newer grounds gives them an edge that keeps them fresh. There's definitely a kind of Eastern feel to "Visitations" with cerebral images of a spectral nature being firmly etched into your conscience. Wonderfully evil sounding pop music from a band that are just too good to ever have a hit record.

N: Certainly far darker, and came as a surprise on first playing. When you reference The Fall, I take it you're not referring to an ever changing lineup, but certainly an interesting contribution, and as I think you said, different but constant. 8/10

web site - myspace

Al Stewart - A Piece Of Yesterday - The Anthology/ Famous Last Words (1993) (EMI) 09/10/2006

N: This modern day folk troubadour, it will always be said, was best known for his hit song 'Year Of The Cat', reaching the surprisingly lowly number 31 in early 1977. This was his only 'hit' single and he was better known for his long playing releases, although the fact his first, 'Bedsitter Images' in 1967, never charted, on this side of the Atlantic anyway, perhaps says a lot for his career as a recording artist. Although still touring - his latest kicking off on the 21st of October in Bristol and winding up in Brighton on the 9th of November - this Scottish singer/song writer has his place in history assured by his 'Year Of The Cat' and should be remembered by many more if the strength of this compilation is anything to go by.

T: I agree that some of the musicianship here should be marvelled at, and Stewart definitely weaves an interesting web of stories, but I can't help feeling the depth isn't quite there. Perhaps this is why the lion's share of success in this genre lay with another Cat - Mr. Stevens. Even so, this is a worthy addition to anybody's collection. 7/10

A Piece Of Yesterday

N: Moving on to "Famous Last Words", this album again, not surprisingly, never attained a chart placing, although came at me with a familiarity that had no reasoning. Strong songwriting and a solid sound obviously marked this as Al's later career contribution.

T: And it does get a little bit middle of the road at times, I'm sure you'd agree. Thankfully it never quite drifts in Lighthouse Family ultra-boredom territory, but it definitely reminds me of the "Moonlighting" theme tune sometimes. The record company states that this is the sound of "a master at the top of his game". I don't know about that, but it's like a nice cup of tea as opposed to a double shooter. 7/10

Famous Last Words

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Albert Hammond, Jr. - Yours To Keep (Rough Trade) 09/10/2006

N: For a solo affir from one part of The Strokes, far from sounding as one would imagine, this commences somewhat like the Beach Boys might.

T: "Pet Sounds" anyone? But the New Yorker doesn't holiday in California for too long. He then goes on a tour of Oklahoma for the Flaming Lips like "In Transit" before returning home to what he knows best. It's definitely his platonic flirtations with the Wilson brothers though that hold the greatest appeal in what is a pretty well written, nicely constructed album. 7/10

web site - thestrokes

The Bluetones ­ The Bluetones (Cooking Vinyl)  09/10/2006

I’ve always admired the vision of the folk at Cooking Vinyl. This is one record company that gives free reign to its artists, and, as a result, several acts previously viewed as “washed up” or “past their sell by date” by the trendy high street media have proceeded to belt out their best album in years. See Echo and the Bunnymen ­ “Siberia” was one of the finest long players of 2005. See Killing Joke’s astonishing return to form earlier this year with “Hosannas from the Basements of Hell”. And, let’s face it, any label who can propel the much maligned Hanson back into the UK top ten deserves the utmost respect!

And so it proves, happily, with The Bluetones. Mark Morriss seems even more laid back and satisfied with his lot than he did in his “Expecting To Fly” heyday. Indeed, this latest  eponymous album has more in common with the band’s debut than any subsequent releases.
After you’re coaxed into thinking this is going to be an album full of gentle lullabies by the opening triplet of “Surrendered”, “Baby Back Up” and the particularly dreamy “Hope and Jump”, the more biting prickliness of “Head on a Spike” stings you with charm and sends you hurtling off in search of the nearest dock leaf.

It seems almost unthinkable that ten whole years have elapsed since we first heard from Morriss and his heartfelt melodies, but it honestly seems like he’s been cryogenically frozen and just taken up where the Hounslow faithful had left off previously. Admittedly he’s shamelessly pilfered the guitar loop from The Beautiful South’s “Rotterdam” along the way for the midtempo “Thank You, Not Today”, but there are several mouth watering tankards of perfect pop soda here to get your chops around ­ the rampantly cheerful “My Neighbour’s House” is one of the strongest tracks had ever put out, for instance, complete with sleek handclaps and an urgency more befitted to Tim Burgess.

On the whole, this is an album to dream to ­ if you don’t mind being woken up by the odd thunderclap.  8/10

Tone E

web site - myspace

Julie Feeney - 13 Songs (Red Ink) 02/10/2006

N: Stuck for a name for that musical opus you've just written? Take a leaf from Julie Feeney's book and just count the songs you've penned. Obviously if you've just managed to write one, "One Song" may look a little lame, but there's no accounting for taste.

T: Er...I think she HAS only written one song to be honest. This "Dido on downers" music is all a little bit too gloomy for me.

N: Funnily enough, I was just thinking the same. I think she's been prescribed the wrong medication. Prozac might be better. BUT the album's content does come across as very monotone, would you not agree?

T: Yes..I'd...agree...completely. 3/10

web site - myspace

Sean Lennon - Friendly Fire (Parlophone) 02/10/2006

First album in 8 years from the great man's second son. It serves as a soundtrack to the film of the same name.

N: I think I'm gonna have to get past Sean's famous father - one of my musical heroes, although I'm not totally sold on his vocal presentation. The music is no less than I would expect from a young man of his means. His heritage can most certainly be heard, although perhaps more from his father than his mother.

T: I actually find it quite refreshing that he sounds not a great deal like John, because when Julian hit the charts four years after his dad's death, it was as though the former Beatle was writing songs from beyond the grave, so similar were those compositions to his earlier work. Anyway this is a nice album which, although never likely to set fireworks sparkling, is a worthy addition to the Lennon dynasty.

N: This does throw up many questions for me regarding just how much of a genetic contribution there is when it comes to the offspring of famous musicians. And was John Lennon truly an exceptional genius?

T: Well, Muse don't sound like the Tornadoes do they?

N: And maybe we should be thankful for that, but as for this album, as I sit here and publish this review I can say it's a grower and a delicate one at that. Nice composition and yes the ghost of his father at his finger-tips, but this is a nice legacy, thankfully he didn't take his influence from his maternal side! 7/10

web site

Dan Sartain – Join Dan Sartain (One Little Indian) 02/10/2006

As my colleague mentioned in his review of the “Replacement Man” single, Sartain has been hailed as the modern day Johnny Cash. To my ears though, he sounds more like an Elvis – or even Marty Robbins – fronting Adam and the Ants. This works a lot better than you may expect.

From the snarling “Drama Queens” through several spaghetti Western driven numbers including the wonderful Latin-American tinged “Flight of the Finch”, the aforementioned marvellous single and the bitter, twisted “The World Is Gonna Break Your Little Heart”, right up to the rather more restrained instrumental finale of “Love Is Black”, there is little time to pause for breath, each song a short sharp breath of disillusion.

One major thumbs up is the fifties style packaging – albeit with a Tarantino edged visuality – and the whole premise reminds me of an early Presley release. And hey, if Dan Sartain were to become even a QUARTER as successful as “The King”, I’d sleep safe in the knowledge that the world is a better place. Great album. 8/10

Tone E

web site - myspace

Juliette and the Licks – Four On The Floor (Hassle) 02/10/2006

Hmm…after a fairly accomplished and surprisingly decent effort on “You’re Speaking My Language”, Juliette’s new long player kicks off with a track you might expect to hear any number of local wannabes playing at a “Battle of the Bands” evening. Thankfully “Hot Kiss” sounds more like Suzi Quatro and Patti Smith having a catfight and this holds some appeal until the disappointingly limp “Sticky Honey” spoils the fun.

“Killer” – no, not the Adamski hit – lifts proceedings again (are all the decent tracks even numbered ones or something?!) and then “Death of a Whore” astonishes me by being one of the tracks of the year, probably because it reminds me of “Piss Factory”…

“Purgatory Blues” is a satisfactory head-nodder, and then “Get Up” tries hard but fails to hide the fact that it’s ripped off the intro to “Won’t Get Fooled Again”. Shame it didn’t rip the rest of the song off too, because this one’s going nowhere. And whaddya know? “Mindful of Daggers” is another sublimely catchy, beautifully noisy slice of rock ‘n’ roll that is making this album something of an enigma to me.

A contender for the title of “Best Song Name” has to be “Bullshit King”, but unfortunately it doesn’t quite live up to its accolade, being another distinctly average excuse to rock out before the ultra-sexy “Inside The Cage” closes proceedings with a breathy and mightily appealing Lewis awakening the testosterone of teenage boys everywhere. And, ahem, perhaps men in their thirties too.

Overall, some of this album is utterly stupendous. Some of it lacks the necessary bite for me to go snake dancing with it too much though, and some of it is like a half strength Babycham. 6/10

Tone E

web site - myspace

Kottak - Therupy (Escapi) 02/10/2006

Remember the band 'Kingdom Come', yeah? I do sort of, a pale glimmer seems to meet my mind's eye as I read the band's name. Well, it may be no surprise that whilst he exchanges sticks duties for what appears to be rhythm guitar and vocals, James Kottak has picked up with Tommy Lee's sister Athena and formed the band 'Kottak' (vien, well maybe a little, but if you've got Tommy Lee's sister on your side, who'll argue?).

The band had admittedly taken some time to get straight, a lull in the music industry didn't help, but what escapes me is why this was, I'm excited about this album! Formerly known as 'Krunk' (I'll admit Kottak seems far more fitting - sorry Jimmy "Who said anything about vien?") and whilst Jimmy had won sticks duties with German rock outfit Scorpions (the ultimate day job!?), Kottak took tentative steps in creating what I'm listening to today.

Kottak had described this album as kinda on the level of "Green Day, or even Cheap Trick-meets-Green-Day-on-a-bad-day", but seeing I don't even like Green Day, this description is not even half way there. As I say, I'm genuinly excited by this album, punk-rock LA stylee certainly, maybe even Guns'n'Roses, or any of those shiney metal band's out of the late Eighties, but instead of tired and somewhat worn, this album is fresh. The riffs that are contributed by Dave Whiston, really are "Hot-shot runs" as Athena had gushed when introducing him to Kottak. And I'll say it again, this album is exciting, well conceived and executed and just a damn fine rock album.

A closer bench mark for this album might be Everclear, but even if these offer a more recent comparison Kottak still make all the right moves and would give anyone a run for their money. From the opening track, 'Money Changes Everything' (it's bitter sweet lyrics telling of the ultimate break-up). 'Song That Won't Go Away' seems more aptly titled song-from-beyond-the-grave (bitter and sweet, oh yeah). 'Do You Wanna Play' a rip roaring roller coaster two fingers sallute to the establishment. 'Pink/Soft' a disturbing peek inside the mind of a rock musician. 'Life Support' a romp through the stereotypical parental relationship with rock'n'roll. 'High (In My Room)' perhaps don't think too hard about this one, high, get-it? 'Generation X' no, not a homage to the group, I wonder if he's read Douglas Coupland? And with 'Anti' marking the album's penultimate offering, this is the ultimate anti-song, a well composed rock number with lyrics that just make complete garbage, look good! And finally 'Holiday' is the reminder that this group can 'rock', although expect to mosh in time. Just a selection of the twelve offered here and for those I've ommited, please forgive me, they're all good. What more can I say, what an album, but someone should work on their spelling! 9/10

Nick James

web site - myspace

Masterlast - Masterly Of Self (Escapi) 02/10/2006

Described as industrial metal, this five peice out of New York are fronted by female vocalist/guitarist duo, Lizza Hayson and Val Glauser. With this as a starting point, I'll be honest, I didn't know what to expect? The fact that Hayson was Isreali and Glauser, Swiss did offer something of an indication, but was this exceeded, or did it just fall flat?

The influence of Eastern roots did come through throughout the album, although the first 30 seconds of track one, 'I Ache', were sorely missed as I continued to listen. From this a rich indication of a Zepplin influenced stage seemed set, with melodies that rang of a dance dominated nature, these were soon expelled as a chord-by-numbers approach was adopted. Harsh, well maybe, but the fact that this album proceeded as an onslaught of sound became tiresome. On repeated listens, it always seemed to start well, but the drudgery of being bombarded with noise just ensued.

My initial reaction of the dance dominated nature did ring true when learning that the girls had enlisted sound programmer C-Drike, whose avant-garde industrial "sonic universe" seemed far more interesting on the page than it did in real life. Am I being fair? Well, so much more could've been done with this combination of eastern promise and gothic guitar, the Middle East meets European influences, in New York! But the fact they took far more from the run down lower East-Side apartment in which they lived during the making of this album, it has to be said was disappointing.

Lizza spits venom as she sings and losses what might well have been a far more interesting vocal delivery, there appear no half measures here. An album that is as exhausting as it could've been beautiful, that this may be taken as either a bitter pill or sweet medicine speaks of the perhaps tired nature of the albums content, but certainly with no half measures. 5/10

Nick James

web site - myspace

The Boyfriends - The Boyfriends (Boobytrap Records) 02/10/2006

Having recently completed a spate of headline dates in the UK, The Boyfriends are a four peice hailing from nowhere in particular. The band's vocalist Martin Wallace does in fact hail from the "leafy", but "boring" (his words, not mine) Whyteleafe, somewhere south of London, Greater to be a little more accurate. On hearing the band for the first time, this is somewhere you'd never associate the group with, perhaps somewhere north of Greater Manchester might at first come to mind and this is a strain that is held onto throughout the 40 or so minutes that the album plays for.

My first thoughts on how this band came across would be to describe them as a group who were more "inspired by" than "inspiring" and even before you learn that The Boyfriends were the group that Mozzer asked for personally when looking for acts to support him on his European tour, this influence is laid quite bare. Later, when I learnt that it was Suede's performance of 'Metal Mickey' on TOTP that was the revelation that inspired the young Wallace to seek his own fortune in music, a little more of the jigsaw becomes evident. Guitarist Richard Adderley strikes a very good pose, although those chords learnt a long time back when practicing in his bedroom are still hard to claim as his own, with the influence of a younger Butler still apparent. I could go even further and claim that the bass/drum combination of David Barnett and Pady Pulzer could even ring of a Joy Division at their height, but would that really be fair? (Whoops).

Alright now I've almost torn this band apart, now is the right time to speak on a possitive note. The fact that thoughout the 40 or so minutes this album never fails to entertain. Yes so the vocals of Wallace might sound a little dower at times and the music perhaps a little too derivative or close for comfort, but with all that said the band put on a very good performance on this their debut album and has a ready made fan base at hand. Yes although these won't on their first outing change the world, this set of musicians is strong enough, in time, to make their own mark. 8/10

Nick James

web site

Monty Python’s Flying Circus - The Collection (EMI) 25/09/2006

And now for something completely the same – Monty Python’s back catalogue. All eight of their original albums remastered, repackaged with bonus tracks. It is all here, just about every classic Monty Python gag you can remember and some you can’t. Well it is that time of year, Christmas is coming, Michael Palin is writing his diaries and Spamalot is currently doing well at the box office.

For anyone who is not familiar with the Pythons work they had three 13 episode series and one 6 episode series for the BBC between October 1969 and December 1974. Most of the material was completely insane and off the wall, but it has stood the test of time very easily. Some of the Python’s sketches have passed into legend such as the ‘Parrot Sketch’, ‘Spanish Inquisition’, and ‘the Knights who say Ni’!!. But check out some of the rarer sketches which in my opinion is where Python were their best, such as the ‘Undertaker Sketch’ from ‘another monty python album’ where Graham Chapman offers John Cleese three ways of disposing of his mother’s corpse – either burying, burning or eating!

The film soundtrack album’s, ‘Life of Brian’, ‘Holy Grail’ and ‘The Meaning of Life’ are quite literally extracts from the films and the other cd’s are the best of the 4 television series. The additional bonus of the ‘Live at Drury Lane’ cd is not to be missed as it shows Python at their live best. Recorded in 1974 not long after the release of the Holy Grail film and it really brings the sketches to life, particularly the ‘Election Special’, although the ‘Flower Arranging’ lecture by Mr Gumby is a real treat.

The cd’s themselves are all masterpieces, after all Monty Python were comedies answer to the Beatles. They have been remastered by Andre Jacquemin and have been overseen by all of the surviving Python’s. Each of the discs include bonus material, as well as interviews with the group.

If you wish to be introduced to Monty Python or simply wish to update your collection then this is the way to do it, there simply isn’t a duff track amongst them. The Python’s like the Beatles’ are timeless and the public will be repeating their catch lines for years to come. 9/10

Cornell Frasier Digby Chicken Ceaser

official site - unofficial site

Enigma - A Posteriori (Liberty/EMI) 25/09/2006

T : You know when you go on holiday, and you visit a museum where they have a video documentary on the history and evolution of seals or whales in, say, Milford Sound for example? This sounds EXACTLY like the kind of music that accompanies the on-screen images. Quite other-worldly, but I think it would work better in some hot, faraway country than anywhere else..

N: I've tried to live with this album, and have taken it on several car journeys, letting it play through again and again, but in this environment I found it really didn't work; it failed to hold my attention. Admittedly the road had to come first! However played in the living room, seated and with little else to do, I found the chillout value pretty impressive, but as a soundtrack to Tone's seals (what WAS he thinking?), it would certainly work. It should be noted though, there's no sign of a "Sadness Pt II". 7/10

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Peter Hammill - Remastered versions of: Chameleon In The Shadow Of The Night/ The Silent Corner And The Empty Stage/ In Camera/ Nadir's Big Chance (Virgin) 25/09/2006

T: You can definitely see the embryonic influence of later metal bands such as Iron Maiden in the early solo works of this former Van Der Graaf Generator man, as well as a striking similarity between these tracks and Gabriel era Genesis. Add to that a sprinkling of the Thin White Duke and you've pretty much got the message. "The Silent Corner And The Empty Stage" is notable for its guest appearance from the late, great Spirit frontman Randy California and there is some fine work encased in this one but elsewhere it suffers from going a bit too "prog" for my liking. Definitely something of a "concept" album, whether this was intentional or not.

N: Tracks of either a magical, yet mystical beauty, whilst others appear totally level headed and ripe from a rock master. If anything you can hear where Spinal Tap converge. Perhaps "The Silent Corner" is a less consistent album, I found, than the earlier "Chameleon..." and certainly suffers from a bout of the progressive rock scenario. This wasn't easy to get into.

T: "In Camera" shows a further decline in that Hammill seems to be attempting to fuse hard folk and rock together and I felt the result was a little embarrassing. If you want that kind of thing buy Jethro Tull's albums as they were plainly better at it. This just sounds like a bunch of seventies Dr.Who villains, complete with cardboard scenery and papier mache heads.

N: So the set design and the foundation for these songs are not particularly stable; you do get the feeling from this album that these songs are just here for the sake of being here, and as has already been suggested, a little too thought out. Maybe the musical version of Scientology.

T: The onslaught of Glam Rock had clearly rubbed off on Peter by 1974 and undoubtedly this was for the better. "Nadir's Big Chance" sounds occasionally like an earlier, sillier version of Ritchie Blackmore's Rainbow and is actually quite palatable. It's pretty evident that he'd been listening to the likes of the Small Faces and Steve Harley too, paying tribute to the Englishness of the former and tipping a wink to the latter's musical arrangements. A return to form, if you ask me.

N: From here, visually, Peter appears to have lost the flouncy appearance that adorned the cover of "In Camera", and indeed, so has the music. A sound that starts off with far more direction and forthright approach; shades of the "Rocky Horror Picture Show" creep inward. On this album, instead of tiptoeing around the music, he strapped on his size 12 steelies and is marching around like an adolescent with too many E-numbers in their diet.

Chameleon In The Shadow Of The Night 8/10
The Silent Corner And The Empty Stage 6/10
In Camera 4/10
Nadir's Big Chance 7/10

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Various - The Greatest Songs Ever (Petrol Records) 25/09/2006

On the 25th of September Petrol records on behalf of EMI Catalogue Marketing are releasing a selection of cds from around the world as well as various styles of music.

On the agenda are titles from salsa to lounge and from opera to classical. They will also be releasing a series of cds from different cities such as Barcelona, Istanbul and Las Vegas.

But the sample that has made its merry way on to ones cd player covers music from different parts of the world, in fact 15 parts of the world. I thought to myself ‘oh no not more world music’ but was pleasantly surprised when I heard it.

The disc starts with ‘Mas Que Nada’ by Elza Soares representing Brazil. The track is known to most because it was on the TV every time Brazil played the football world cup earlier this year. Jamaica is represented by arguably the best British one hit wonder of all time – ‘Uptown, Top Ranking’ by Althea & Donna. Even though it was a hit in the mid seventies, is still featured on Radio 2 reasonably regularly.

The sampler features classic acoustic numbers from Italy and France as well as a beautiful Chilean panpipe number called ‘Si vas para Chile’ by Silva Infantas Y Los Condores. But the real gems here are from the quite sombre, Fureys singing ‘Green Fields of France’ and ‘Nwahulawana’ by Wazimbo & Orchestra Marrabenta Star De Mocambique, representing Africa.

I truly believe that if you fancy dipping your toe in the waters of world music then this is the easiest way of doing it. As Band Aid sang in 1984 ‘there’s a world outside your window’ well today with the television full of travel shows going to different countries and cultures and the internet in almost every room, the world is now inside your home so put it in your cd player too. 10/10

Cornell Frasier Digby Chicken Ceaser

web site

Sparklehorse - Dreamt For Light Years In The Belly Of A Mountain (Capitol) 25/09/2006

N: Interesting - this band's first release in five years. I recall, as I'm sure will you, reviewing that release in the early days of atomicduster. A sound that is derivative of the band's own work and comes filled with nuances that sit nicely in the presentation.

T: It definitely reminds me of Paul Weller's "Sunflower" when the opening track and lead single "Don't Take My Sunshine Away" kicks in. The only problem I have with this album is this: if it took five years to make, why does it not sound ANY different to the last few Sparklehorse albums. Don't get me wrong - I LIKE Mark Linkous, but I'd have expected something that at least tries to do SOMETHING different. Some pretty good tunes here, but I'm so used to it now that there's no way it's going to blow me away.

N: I hear what you're saying here, but this album was obviously a difficult one to get started. The songwriter worked with many contributors here, among those being Tom Waits, Stephen Drodz and Dangermouse and I stand by my earlier comment, but as I say take on board your disappointment.

T: I'm intrigued now, as Tom Waits is one of my all time musical heroes. Must be the best track... 7/10

web site - myspace

James Yorkston - The Year Of The Leopard (Domino) 25/09/2006

T: Clearly making an attempt to look like the least cool, most uncomfortable musician in the world on the back sleeve, thankfully this intrepid starchiness does not transfer to the album. His third long player, once again we have a release packed with acoustic chillouts and interesting lyrics and I can already sense that I like this a lot more than Nick does...

N: Tch tch. Certainly an album filled with the author's introspect. Beautifully crafted songs and an interesting release that, if anything, says more for the market it's aimed at.

T: It's also worth pointing out that this was produced and engineered by Paul Webb and Phill Brown, a duo who reviously worked on Talk Talk's classic "Spirit Of Eden" lp. A great release.

N: Who's been an observant boy then! 8/10

web site - myspace

Sound Team - Movie Monster (Parlophone) 25/09/2006

T: It's probably because we've just been listening to Four Tet and The Rapture, but this feels like a damn good holiday at the moment. I'm feeling quite drawn in and a quick glance at the press blurb confirms that they are a band to watch, having recently supported Arcade Fire and The Walkmen. There are some great pop songs here, set to a backdrop of gloomy grey skies. If you're a fan of classic songwriters this is for you.

N: Shades of 10cc, ELO and early seventies British music echo through the strains, which is odd for an American band, and heaqring what you've said, personally I'm not sue whether this is quirky or a serious contribution. I am sure however, with repeated listens, the latter will prevail. 8/10

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Four Tet - Remixes (Domino) 25/09/2006

T: One minute in and already I'm nauseous. I don't know if I'm supposed to be on some "higher level" - literally - to appreciate this, but hey, if you want to see this kind of thing played live, I'm more than willing to set up a table full of various objects such as coke cans, wine glasses and dustbins, and to hit them randomly with egg whicks and kitchen sink plungers. This probably likes to pass itself off as superior, intelligent dance music. It's not - it's just shite. Don't get me wrong - there was nothing wrong with these songs in their original form, but this is nothing but horribly pretentious twaddle.

N: Funnily enough, I find this approach quite restful, but it sounds on track one in particular as if someone's skipping through the Play using the Fast Forward button; once I became assimilated to their approach it went down quite easily. I can see however what Tone is referring to in his critique - this certainly is something you'll either love or hate, allowing for no middle ground, or put another way, "pretentious twaddle". 4/10

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Various - A Life Less Lived: The Gothic Box (Rhino Entertainment) 19/09/2006

Nearly a quarter of a century ago a youth trend emerged that would see bands and fans reaching for black mascara and tapping into the antisocial energy of punk, whilst celebrating a dark introspective that would be known as 'Goth'. Far from being as pale as it's followers sometimes looked, or even as the title here might suggest, the goth scene back then was a vibrant and energetic anti-culture that bore fruits we can still see present in many of today's mainstream acts, catch Placebo, Nine Inch Nails or Marilyn Manson to hear today's incarnation.

Many of the act's featured on this comprehensive slice of anti-culture, it may be considered, rarely feature on Gothic compilations seen today, or at least some of the content here is certainly left-field from that usually chosen. This comprehensive box, comprises not just a 3-CD set of 53 songs, but also a DVD that features 12 videos. Bauhaus's, Peter Murphy can not only be heard with both his band and solo work, but also seen performing 'Bela Lugosi...' on the DVD, with the somber Bauhaus.

Pretty ordinary, yeah? Well mention goth and Bauhaus might be one of the first act's on your lips, fair enough, but Xmal Deutschland or Sex Gang Children, take my point? And whilst band's like The Cult and The Cure might be expected, the sweeter side of goth in the form of The Cocteau Twins and Cranes might not. I was surprised to find The Sisters Of Mercy had been included in the form of the original version of 'Temple Of Love', but felt rested when I learnt that it was the video to 'Lucretia My Reflection' that had been included on the DVD. But where was the video directors depiction of urban decay, as seen on 'This Corrosion'? Perhaps a little to mainstream and had become a victim of its own success.

The set is said to include offerings from the 20 year space between 1978 and 1998, but avoids becoming too mainstream in its outlook, whilst still remaining a totally credible education. So in essence I feel the compilation's compiler/s have to be applauded for their choice here and although I myself have only touched on what may be considered 'the usual suspects', it is certainly worth browsing for yourself that that has been included here, or as the compilation's producer Liz Goodman explains "the essential hit bands from a scene that arguably never had hits." and is one not just for those who recall the first time round, but is just as viable to those in their teens today. 8/10

Nick James

Why not checkout the resources that have been made available, in the form of the following;

Join The Rhino - Listening Party (where you'll hear the promotional sampler) or the - E-card (for further details).

Bonnie “Prince” Billy – The Letting Go (Domino) 18/09/2006

Should you ever be confronted with a tiresomely long line of traffic, caused primarily by someone who is threatening to throw themselves off a motorway bridge, here is your ultimate saviour. All you need to do is pop “The Letting Go” in your car stereo, crank it up, and either our desperate nutjob would be so calmed by Dawn McCarthy’s backing vocals or he’ll be so chilled by the stark, dark undercurrents of this album that the process will be sped up wholesale and we can all go on our merry way.

Will Oldham has long been a fascinating artist and he proves no different here. One moment you’re trapped in a bubble of intensity like “The Seedling” and at other times you are soothed by such sweet lullabies as “Big Friday”. Except that these are anything BUT lullabies; if you listen carefully to these tracks, there’s an unholy barbarism that runs through them, but while they are at once brutal and frank, they are also cleverly veiled with double meanings, leaving the audience unsure whether they’re love songs perfectly punctuated with exquisitely haunting strings, or if they’re sinister, gruesome accounts of murder and betrayal.

Of course, all this adds up to a thoroughly enjoyable, if freakishly uncomfortable listen. 8/10

Tone E

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High School Musical – Original Soundtrack (EMI Records) 18/09/2006

It’s generally accepted that children – and I was relatively guilty of it myself in my pre-pubescent period – and the elderly are the ones most worthy of the blame for ruining our charts by making garbage like Crazy Frog and Westlife records into million sellers. Really though, I refuse to believe there are ANY kids or grannies stupid enough to buy this monstrosity in the universe. Alas though, it would seem I am wrong, as I have been informed that the woeful single from this soundtrack (“Breaking Free”) has entered our top 40 at number 9. You MUPPETS.

When it comes down to the fact that a song that sounds like Justin Timberlake (“Get ‘cha Head in the Game”) is the best thing on it, it’s time to hit the “Stop” button, but sadly I can’t because I have to review the damn thing. The rest of the soundtrack is somewhere between S Club 7 on a bad day, a glove puppet version of “Grease” and music that is ten times worse than Mariah Carey’s most annoying song. And that’s bad… 2/10 - (for the Timberlake take off)

Tone E

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Jane's Addiction - Up From The Catacombs - The Best Of (Rhino) 18/09/2006

T: All I need to say is that this is a timely reminder of how brilliant a band CAN be if they really put their minds to it. This hugely influential group made some of the most stirring music of the eighties and nineties and the vast majority of the best bits make up this CD collection. If there's a more distinctive intro than "Been Caught Stealing" I've yet to hear it and...well...do I really need to list the others fo you? The well known "Just Because" is obviously a standout, as well as the earlier "Whores" and basically Jane's Addiction were one of the reasons I kept my faith in music through some painfully patchy periods. Do I spaek for you as well Nick, or are you going to surprise me by pissing on my pixie party?

N: Not at all. A compilation I see put together by Perry Farrell's mighty Jane's. Sixteen tracks and almost eighty minutes documenting the bands passage through music. And what more can I say? Nearly 20 years of history from a band who did more than just participate in music - they wrote a chapter. Do I sound a tad nostalgic?

T: The sound of perfection. 10/10

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Five O'Clock Heroes – Bend To The Breaks (Glaze) 18/09/2006

I already have a distinct advantage here in that I am very familiar with five of the twelve tracks on this album, having used them all on compilations for when I’m driving over the past six months. Come to think of it, that’s probably a distinct advantage for them too!

Anyway, as you’ll probably be aware from previous single reviews, Five O’clock Heroes are generally perceived by us here at AD as being very much a hybrid of Elvis Costello and The Ramones, and what a fine benchmark, if ever there was one!

You can add to the equation the quirkiness of The Coral (“Anybody Home”), a unique update of the AOR style utilised by Hall & Oates (“Number Again”), the “Motown mod” feel of “Good Lovers” and the “Robert Smith on uppers” jaunt of the albums standout track, “Corporate Boys”.

“Bend To The Breaks” has further reinforced my belief that Five O’clock Heroes are one of the five best bands around at present…and they CAN be heroes, for MORE than one day. An alarmingly good debut. 9/10

Tone E

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The Rapture - Pieces Of The People We Love (Mercury) 04/09/2006

More pop-funk from a band who've been making heady strides towards commercial success with their Top 40 breakthorugh.

T: This is a band who are quite clearly heavily dependent upon the booming rhythm section and occasional Sting-like vocals and compositions. While all their songs are surefire floor-fillers, I can't help thinking they'd sound better with a more restrained production. They're definitely a good, talented band, but I think an almighty migraine would surface if I listened to more than three tracks in a row from this album.

N: This band possesses a similarity that although I'm sure some of which comes from airplay, many numbers here ring of phrases perhaps borrowed from those previously heard by other bands. They've most certainly aimed their heady brew at a younger listener. 6/10

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