Album Reviews: March 2005


Fulc - Embrace.Destroy (Stunted Records) - Released May 9th 2005

You’ve got to hand it to fulc – they are very much a band that demand repeat listens. For example, to be honest, when I first played this mini-album I was a little disappointed; however, then I put it on again and all its little intricacies became more apparent with each play, not to mention the fascinating melodies – which seemed non-existent initially – that claw at your scalp like a particularly persistent bird of prey. This is actually my third play, and the way the thing’s growing on me, you can probably knock the score I eventually give it up at least one notch by the time you read this!

The title track is a snarling rock anthem and “Owesnothing” is a quite sublimely beautiful three minute combination of sparsity and full on guitar fuelled angst…if that’s possible!

“Wasting” is probably my favourite track here, with its splendid riff-perfect intro, calling to mind Muse’s “Hysteria” until Duane’s ferocious lyrics cut in. By the time it’s finished you feel like you’ve been bundled in a tumble dryer by a gang of orang-utans and thoroughly enjoyed the experience!

“System” makes out like it’s going to be some kind of ballad, but instead of handing you the bunch of flowers it seems to be promising, eventually it beats you over the head with them…and it had a horseshoe hidden in the wrapping paper.
That one actually reminded me of Therapy?, much to my delight as I always felt they were a criminally underappreciated band.

Duane’s chosen to steal a title from my old band for the next track – “Pedestal” – except unlike mine he doesn’t gibber on about riding pet ostriches and instead delivers an extremely effective rage addled four minute warning.

Closing with “Entrapment” was a good move as it displays just how diverse the group’s output can be; a slower number on a grand scale – almost epic even – and again one that demands at least a few listens before you can fully appreciate how good it is.

Last time around, fulc were showing a lot of promise. This time, they’ve simply underlined their credentials.


Tone E

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Glen Brown And Friends – Rhythm Master Volume 1 (HOTPOT)

A superb collection of classic reggae tracks from melody master Glen Brown. Available on CD and vinyl this is a collection of some very rare tracks from 1972 –1976. With collaborations with I-Roy, Prince Jazzbo, Gregory Isaacs and Big Youth it is a special gathering of rhythmic, melodic music.

Its production is raw and full of character and although a lot of the rhythms are remixed or alternate versions they are all worthy of equal attention. Stand out tracks are ‘Dirty Harry’, ‘Never to young to learn’ and ‘One One Cocoa’ featuring Gregory Isaacs.

There is not the same amount of critique that I can give to this as with the newer stuff I tend to review but I would say if you are interested in this style of music now or historically that this is a great opportunity to get you hands on some of the best examples of its kind.

If you are a broad-minded music fan, I would also recommend this as the rhythms and melodies are timeless and a joy to listen too. Especially on a hot summers evening with a cold drink and a gentle breeze!!! 9/10

Nic Caesar

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Ossie Hibbert and the Revolutionaries – Earthquake Dub (HOTPOT)

A very similar situation to the Glen Brown release this sees the unsung talents of Ossie Hibbert put together in one collection of Dub that includes some bonus tracks on the CD release. Great for the bass heads out there, that is looking for more chilled out, Jamaican styles.

A vast collection of tracks with superb percussion and bass lines and great sax and guitar pieces too. Again the strong point here, obviously, is the rhythm and the melodies.

Best tracks are ‘Fletcher Land’, ‘Ital Menu’, ‘Heavy Rock’, ‘Pain Land dub’ and the bonus track ‘Death Sentence’.

I would recommend if you’re interested in learning more about the history and background to this release and to the other Hot Pot releases, that you check out the web site or just go buy the CD, you won’t be disappointed, as in the words of Ossie Hibbert himself, ‘Earthquake’ a one ‘eavy ting!’. 8/10

Nic Caesar

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Billy Idol - Devils Playground (Sanctuary)

"Billy Idol To Release First New Music In More Than 10 Years - Enough! said Billy Idol, 2005 is the time for an original punk rocker to show his stuff" came the press surrounding the release of this album, after 10 years this going to have to be something special, I thought. From 'Rebel Yell' and 'White Wedding', the releases of my School daze to a Johnny Walker radio show, in which he aired 'Super Overdrive' the opening track from this album, some days past, we've all come a long way - and especially Billy whose tag of original punk rocker started with the Bromley Contingent - a crew that included such names as Siouxsie Sioux, Steve Severin, Mick Jones et' al, as well as Billy's own Generation X, so judging from what I'm hearing of this album, time and substance has proved kinder than one might have imagined.

Play 'Super Overdrive', but don't stop there, as I'd consider this the least friendly of the content here, it's got balls and I can see is the perfect gateway to this album, but it's almost as if this is Billy Idol voiced by an imitator, or after a night on the sauce at the very least. From here-on-in it all gets fuller and the content is able to walk a line between ac and dc. 'Super Overdrive' is described by Idol as Richard Branson's first flight of his 'rocket' and the "brilliantly dumb" naming after a guitar pedal! But from 'World Comin' Down' it all gets a little more crafted and from 'Rat Race' the music just went into overdrive and burst through the stratosphere, as you can imagine this is about the life we all lead, whether we choose to or not. Next up is 'Sherri' and is Billy trying to get in touch with his feminine side, writing from the point of view of a 16 year old girl, a point of view which some may warn caution, but this is Billy Idol and I'm sure he has more experience than any of us can imagine! A rousing number that will have you following the chorus and letting inhibitions down as you scream the words.

Through 'Plastic Jesus', 'Scream', 'Yelling At The Christmas Tree' - a number I wouldn't be surprised finds itself turning up in alternative Christmas DJ's play lists, to 'Romeo Waiting', you can hear a Billy Idol whose on form and just itching to tell his tales in true rock'n'roll fashion, but 'Body Snatcher' see's the king of punk reinvented playing to a darker and slightly more sinister soundtrack - hot rails and chords are burning with fire, and so to 'Evil Eye', well you get the picture.

'Lady Do Or Die' could almost be that the spirit of Johnny Cash had taken control of proceedings at this stage, as the music becomes like taking the 'stage' across the burning desserts of the mid-west, black coat on the musicians back and guitar at his side. 'Cherie' follows and is a rockin' version of an 'Idol' love song, then to the albums close and 'Summer Running' is Billy Idol riding his motorcycle into the summer sunset, trying to come to terms with what he nearly lost during his darker days. This song shows a superb crafting of an album, brought to a close in the only way it should be, but having recently signed a record deal with 'Sanctuary', it would seem that this is all is closing and hopefully Billy Idol will prove a musical force still to come. 9/10

Nick James

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Ambulance Ltd - Ambulance Ltd (TVT)

Dubbed "White album era Beatles, given a 21st Century makeover" by the NME when speaking of this, the debut album by New York's 'Ambulance Ltd' and although and I can see where the author was coming from when giving this description, all you really need to know is that this is a truly fantastic album. This group of once struggling musicians, whose home became New York appear to have embraced the truly cosmopolitan on this album of East Coast, meets the surf of the West, having traveled through the dust of somewhere in-between.

That's not to say that singer-songwriter Marcus Congleton and cohorts are trying to appeal to as wider demographic as possible, as this album is one that is at times dark and others appears in a beautiful ray of sunshine. An album that always remains just the other side of the accepted, a truly underground album that has chosen to appear broadside to us all in the momentary flash that are each of its glistening scales. If you want a reference that draws together their sound I think I'd have to make references of Velvet Underground meets My Bloody Valentine, although the band have truly taken influences from all that might have appeared to inspire them. From the recognisable guitar on 'Heavy Lifting' that could quite easily lead into The Beatles 'Dear Prudence', to any number of moments that might be attributed to Pavement, while others have an air of Wilson's Batch Boys about them, although these are in shorter supply.

This album is chock-full of influences, some of which are more evident that others, whilst managing to make this a unique product that will remain undoubtedly Ambulance Ltd. 10/10

Nick James

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Moby – Hotel (Mute)

This is the latest offering from the old man of electronica. The name is inspired by his obsession with hotels and the sort of things we tend to get up to behind closed doors. Generally I think, it’s a very mellow offering, not that Moby has been loud and brash really but this album just feels more contemplative and chilled than ‘Play’, for example.

The album as a whole has a more acoustic sound than you would expect with lots of guitars and live drums, perhaps a reaction to the recent success and domination of bands generally. The first track of mention in this ilk is ‘Beautiful’. It has classic Moby lyrics but with a more pop/rock sound. Then it’s on to ‘Lift me Up’ which is a gem. Superb lyrics and melodies. Classic Moby!? We’ll see.

One of the best tracks on the album is Temptation, which is a soft, gently emotional track. Very melancholy with beautiful vocals. Also in this vein is ‘Dream about me’. A yearning, heart-warming love song. Another beautiful track is ‘love should’ with its gentle piano loops and classic vocal patter. Yet another track of this type is ‘Forever’, very slow and relaxed and so you can see what I mean when I say this album is very mellow. 8/10

Nic Caesar

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Idlewild - Warnings/Promises (Parlophone)

Edinburgh in the winter of 1995 and Idlewild formed around the core trio of Roddy Woomble, Rod Jones and Colin Newton taking their first breath as the group whose sounds now careers my senses. At this point perhaps even the band members themselves never dare hope that nearly 10 years on we'd still be listening and wondering at the magic these guy's had the ability of creating, but this is the case and this magic can be heard rejuvenated on their latest - 'Warnings/Promises'.

It was in the pub only last week that there I sat discussing with a friend the band and just what was it that made Idlewild so familiar - "well maybe it's that Roddy Woomble has a definite air of Michael Stipe present in his vocals." "Ah yes that must be it." came the reply and perhaps it is this little slice of Athens, Georgia right here on the shores of the British Isles that is going to see the group through to an even more fruitful career and stamp on 'music' as a whole.
But with Woomble now resident in New York's East Village and the rest of the band situated elsewhere in the UK and Eire, perhaps it is more than just ourselves who will eventually lay claim to these 'boys'.

More evidence to this group's global citizenship comes in the form that this album was recorded in Los Angeles, with Beck/Air & Phoenix producer Tony Hoffer and the apparent energy coming from an ambitious summer spent touring America's stadia alongside Pearl Jam, a tour in which Idlewild displayed an ambition and ability they've only since ever hinted at.

Opening this album is the recently released 'Love Steals Us...' and forms a fine base at what else is to come from this album. Music that is brought with not only the depth of a group whose vast experience has been able to pick from the fruits of a bountiful source, but one whose hard work and ability has seen them able to harvest the seasons crop in abundance.

Containing 12 songs where Woomble shows himself for the great lyricist he truly is, songs played to the canvas that is a steady and accomplished band of musicians, songs that round off with the story that surely cannot be an autobiographical one, that of 'Goodnight' where the performer plays to the disaffectionate audience and the nightmares that ensue. But wait, before you press stop and turn away, the obligatory hidden track can be found if you can be bothered to let the album play-out to its conclusion. All in all this should be remembered as a classic Idlewild album, one that should be high on the list priorities if you've yet to purchase your first. 8/10

Nick James

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Mando Diao - Hurricane Bar (Majesty/Capitol)

Are we listening to The Libertines or have I found myself watching the B-Movie to the feature presentation? We have reviewed this group on 2 previous occasions; in September with their 'Sheepdog' single and in November with their 'Paralyzed' ep, on certainly the first of these occasions I feel we may've been a little harsh, as the more I listen to their debut album this quartet from Sweeden are begining to gel.

Not as was my previous adjudication are these guys playing to a Euro rock fashion, the music has certainly found itself and is most listenable. Although there are obvious references that can be drawn, Mando Diao I hope will find a long and fruitful career, in this small part of Europe at least, they've certainly engineered a sound that seats nicely for a British audience. 8/10

Nick James

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Various Artists – NASCAR 3D: The IMAX Experience – Original Motion Picture Soundtrack (Shout! Factory)

A bizarre mix of well known tunes from contemporary artists (Lynyrd Skynyrd’s “Sweet Home Alabama”, Sheryl Crow’s “Steve McQueen”) with mainstream rock classics (The Altman Brothers “Firing Line”) and country tunes such as Leann Rimes’ “I Got It Bad” and Robert Belfour’s “Hill Stomp” among others, this is actually quite an entertaining CD.

It’s all featured in the record breaking documentary from the US about the sport of NASCAR, a film which finished second in terms of gross in 2004 only to Michael Moore’s “Fahrenheit 9/11” for movies in that category.

Pick of the bunch for me here though are the instrumental tracks – Eric Colvin’s two featured compositions blow everything else to smithereens if you ask me. Having said that, it’s an extremely accessible CD and I imagine it all fits perfectly with the more exciting race scenes in the movie.

In short, some of this compilation is outstanding, there are a few less stimulating moments on it, but for the most part it’s very enjoyable. 7/10

Tone E

To find out more about this release and obtain audio samples - click the link below.
To order your copy - click the 'Nascar 3D' graphic on the left of the review.

web site

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Johnny Cash! The Man, The World, His Music (Sanctuary)

This reissued, long out-of print documentary is for the first time brought to DVD, re-mastered, repackaged and with a forward written by Cash expert, Colin Escott. It's also like stepping back through time, as the footage featured here is from 1968-69 and is presented in a tender manner, offering a rare insight in the man, his life and his music.

This is a somewhat disjointed presentation, that when viewed as the 80 minute reel it is, is far more cohesive and shows this giant of country music in a guise that reminded me of his European counterpart Bono in the work he did to raise awareness for the "plight of the ordinary man". With performances from Johnny's wife June Carter Cash, Bob Dylan, Carl Perkins and the Carter Sisters, the collection of music presented here are added to in the power of his poignant lyrics, by the interview footage captured.

Johnny Cash will always be best remembered as 'the man in black', a powerful image and was a man who was revered by artists and public alike. A musician who embraced music and was eager to explore boundaries and was therefore far more than just this. This could well be a life changing experience, I therefore think it best to leave the close to author and Cash knowledge, Colin Escott, "The end came on September 12, 2003. He'd been on the brink so often, but lacked the strength for one more fight." 9/10

Nick James

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Little Shyning Man - Hart of the Wud (360degrees)

A strange one this, not sure how to place it really. Its definitely electronic music, its definitely modern but it has this cloak of folk music around it. It’s pretence is quite intellectual in that it takes some influence from the folk tale ‘Riddley Walker’ by Russell Hoban in which the past is resurrected in the future. There are therefore some comparisons in that the tracks include influences from a range of genre. But isn’t that the same of any music today, it is all born of the past and what preceded it!?

It’s certainly a collection of carefully crafted tracks which are all down-tempo and atmospheric. Some are beautiful and some plain quirky. I think it’s the sort of music you think to, imagining all sorts of new scenarios because the music evokes a sense of a moment in time, a soundtrack to a scene in your minds eye.

Sounds a bit deep hey! Well it is. This is not frivolous throwaway pop, there is a purpose and a motivation behind the music that is deeper than you first think. I think everyone should get a copy of this just to be able to hear it once and to allow it to submerge itself in your subconscious, ready to be called upon when ever a deep and meaningful experience emerges from life’s chain of insignificant daily events. 8/10

Available to download only on I-Tunes March 7th. Playback of the album can be obtained by clicking the graphic.
Nic Caesar

web site

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Emanuel – Soundtrack to a Headrush (Vagrant Records)

I have to confess, on first play I thought “Oh no, not ANOTHER screamo band”, but it became clearly apparent eventually that the band’s sound owed more to spandex and poodle perms than to groups with names relating to death, and it’s almost like WASP have stung The Deftones and watched as the wound went septic.

Having said all that, I can’t pretend to be a big fan of Emanuel, purely because they just seem so totally unoriginal – like a pastiche of all their favourite emo and hair metal bands from the years gone by.

The most effective moments by far though are those that find the band in a more melancholy, restrained mood, such as “Make Tonight” or “Breathe Underwater” – the latter of which is actually an excellent tune that the band would be better off, in my humble opinion, making a blueprint out of for their next album. At least up until the bit where Satan seems to join in anyway…

All in all it has its moments. Sadly these are few and far between. 5/10

Tone E

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Simple Plan - Still Not Getting Any... (Lava/Atlantic Records)

I have absolutely nothing against Simple Plan. This is for the same reason I had nothing against Busted (no, honestly…), McFly (stop laughing at the back!), Blink 182 or Sum 41. That reason is this: they are all the kind of bands at the beginning of the bridge that leads to the realms of more mind expanding music (in a minimalist way, you understand…)

In a nutshell, I mean artists like these are generally the ones that would lead a kid, previously brainwashed by the pop travesties that regularly adorn the nation’s chart shows, into murkier waters…not that there’s anything remotely sinister or brain stimulating about Simple Plan’s music; in fact, that’s why I have them pinned down as that knight at the BEGINNING of the bridge who says “Ye shalt not pass until ye hast thrown thoust Robbie Williams CDs into the flaming pit below and banished all things Nelly from thy bedroom”.

For the record, Simple Plan sound somewhere between their previously mentioned spiky haired Canadian counterparts and the more recent Green Day stuff, so as you can imagine, it’s really quite catchy and fun, though it sometimes borders on nauseating.

You can’t deny the instant commercial appeal of tracks like the latest single, “Shut Up”, or, say, “Promise” though – if you can overlook the general quirkiness that is – and whilst I doubt that it’ll be blaring out of my stereo too often, I’d be delighted to buy it for any teenage relative of mine who’s recently realised Westlife are shit.


Tone E

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Something For Rockets - Something For Rockets (Might As Well Music)

I suppose I should feature this band in our 'Spotlight' section, as being new and from what I can make out; unsigned'ish - this band leave me with this quandary? But having now played their debut album (imaginatively titled 'Something For Rockets'), I have no concern about letting this through the cordon to play alongside the big boys.

Something For Rockets were born in LA after central member, Rami Perlman (son of violin virtuoso, Itzhak Perlman), upped sticks and moved from his then home of New York City. Perlman had met fellow band member Josh Eichenbaum whilst studying at Brown University, with the two recording together during their senior year, but with the addition of former 'Mori Stylez' drummer, Barry Davis, the trio were complete and music of an incredible nature soon followed.

It's understandable when you hear the band, that Eichenbaum's discipline at Brown's was 'computer music and composition', as this is something that become plainly obvious on hearing their debut album. The music is clearly indie, laced with an infectious and hypnotic dance-floor beat, but still with a melody to turn any head - this is an incredible sound. In fact do you remember the group 'Max Q'? Michael Hutchence's side project in which he melded his vocal swagger to an infectious beat to create a new, if not quite so popular sound to eclipse his INXS. Well the time is undoubtedly right and 'SFR' are sure to capitalise on this with , well 'SFR'.

The album comprises 12 tracks where a mainstay to the proceedings is a synthetically produced driving sound, over which Perlman croons in his dark and low drawl. Guitar is offered from time to time, simply over-driven, but cool to the touch. The song - 'Tragic City', a number in which a gender bending lyric, entertains what I can hear are tones of both 'Scissor Sisters' and 'Death In Vegas'. The numbers 'All Ok', in which the band assure us of such, to the sincere 'Red In The Face', posses a string that echoes New York's 'Stokes', possibly down to the vocal presentation and guitar stabs that can be heard over the synthetic flow.

So basically this group are simply stunning and their handle easily adapts to the cry 'S.F.R.' that can be heard toward the end of the previously noted 'Red In The Face' and chanted in the closing moments of 'Take It Slow', the final track. But a highlight, what this might be? Well, to be honest this whole album's a highlight! 9/10

Nick James

Go online and hear a sample of the bands album on their website, but be prepared for a 'Flash' content.

web site

click above


Asian Dub Foundation – Tank (EMI)

Hardcore, socio-political genius, a band that will never let anything unjust pass without having their say and they’re back with a new studio album. Very much an album that bows to your expectations, the political edge is there, dealing with contempory issues and so is the tough, ear-bashing blend of musical styles.

The real stand out tracks that we will be hearing more of in the future are ‘Fly Over’, a rambunctious chanting, junglist diamond, the title track, ‘Tank’ with its theatrical lyrics and mid-eastern samples, ‘Powerlines’ driving bass lines and roughneck break beats and also ‘Hope’, with its up lifting call to this generations socially conscientious.

Altogether a superb album with depth at every level, musically and content wise. An album every young person should at least listen to! 9/10

Nic Caesar

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Various Artists – Scorched Earth (EMI)

I was asked to give this one a look from the perspective of a DJ. It’s certainly an interesting collection of tracks with flourishes of funk and rock and heavy references to the sound of the late great Jimi Hendrix. Most of these tracks were taken from the period between 1969 and 1973.

There are some well know artists that even the most ignorant music fan would have heard some reference to, at some point, for example, Hank Marvin, Ike and Tina Turner and The Steve Miller Band. But what really interests me about this collection of tracks is the potential it has to inspire new music. Strictly from a DJ point of view you would have to be playing to some fairly open minded or aged punters to play a full track successfully in any club at the moment. You may get away with it in Ibiza on the terrace at Space or at a sunset warm up at Mambo and even then, especially these days, you may be throwing a major curve ball to the audience.

What this album really offers to a DJ or budding producer is inspiration. Inspiration in the form of crude samples like the mid track guitar solo in Superlungs or the intro from Sounds Nice‘s ‘Why do I do it’, or, and I think this would be more useful creatively, to get a feel for the soundscape and arrangements that these tracks hold. They do not sound like anything we have around at the moment. It may be an obvious statement because of the age of the tracks but I would look at the era they were created more deeply , what was going on in the drug scene, the political climate and the musical experimentation with cross fertilisation from funk, rock, r&b and back all the way to Blues and Jazz.

I think I would look at this as an educational tool for DJs to understand where the music they are playing today comes from and to connect with the atmosphere with which the music was created in and see how that has transferred to the dance music we listen to today.

Particular tracks of mention are Terry Reid – Superlungs my Supergirl, SugarLoaf – Green Eyed Lady(Full LP version), Sounds Nice – Why do I do it and Hoodoo Rhythm Devils – Hoodoo Beats. And remember any samples used in commercial ventures must be cleared by the appropriate authority!!! 8/10

Nic Caesar

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Asian Dub Foundation - Tank (EMI)

What can I say of this new album from these anglo-asian warriors, that hasn't already been waxed lyrical in the press that accompanied it? This said that this album was "like itching powder that won't let an individualist world sink into complete lethargy, ADF comes back with a Tank full of social consciousness and spine shaking tunes".

Really this says it all, one hell of an album full of tunes that try their best at shaking up this world, its leaders and disaffected citizens. An album that in my mind seats neatly next to my copy of 'Leftfield's - Leftism', but with an updated message to inform. Hell, the lyrics hold no bars, with political statement taking up the mantle so often heard in the form of profanity on other similarly hard edged material. Dub, ragga, classic jungle and eastern twists, play with hard driven guitars and all form an astounding bed on which sits these words of political intent. With production coming from Adam Wren (familiar as Leftfield's mixing engineer), this would explain its familiar undertones.

I first encountered these guys on their debut, 'Rafi's Revenge' and I can't truely say that they've not grown complacient, instead producing an album with a message that's so assorbic, it matches current events, bar for bar. The message is presented in a syrup of sound and rhythm, but instead of bloated and somewhat sluggish, this syrup is exhilarating at every turn of the dial. 9/10

Nick James

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David Bowie - Black Tie, White Noise (EMI)

Alright I'll start by explaining that when I first heard this album on its release in 1993, I was blown away! Fantastic, superb, top-hole! David's last album was in 1987 with 'Never Let Me Down' and this new release was marked improvement in my eyes, but haven't we already seen a re-relaese of this album, I seem to recall?

This time we are invited to experience 'Black Tie, White Noise' on DVD, a visual experience that puts Bowie up front and in your face, with insight from the man himself talking on a variety of subjects that centre wholy around the making of this album.

Superb, but I recall going over this when it was broadcast on television around the time of its original release, so can only see that this is marketed to the hardest-core of Bowie-fans. Of these I am sure there are many, but if you don't already own the album, I suggest that you check this out and discover just what you've been missing. 5/10 for this release, 9/10 for the original album.

Nick James

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The Kills - No Wow (Domino)

The Kills have come on in leaps and bounds since “Keep On Your Mean Side”, which admittedly was a great album in its own right. The difference here is that there are NO filler tunes on “No Wow”, whereas its predecessor had one or two more lacklustre moments if you ask me.

Indeed, the commercial viability this time has been such that the duo have found themselves in the unfamiliar territory of the top 30 UK singles chart with “The Good Ones” and this latest offering continues in a similar vain throughout – dirty, distorted guitars and killer hooks perfectly complimented by Alison Mosshart’s unique vocal hybrid of Patti Smith and Chrissie Hynde.

Some of the tracks here are absolute knockouts – the opening title track and “Dead Road 7” will rock you so hard they make The Darkness look like The Smurfs…um…come to think of it…

A useful and effective diversion from the chaos of this beautiful noise comes in the second half of “I Hate the Way You Love”, which is probably as close to a ballad as we could possibly expect from the band.

No Wow? I’d say there was PLENTY wow to choose from on this remarkably strong second album!


Tone E

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