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The New Cross - An Angular Sampler (Angular Recording Corporation)

A compilation that gathers various oddballs that comprise ‘The currently thriving art-punk/electro-pop anti-scene of SE4, 8 & 14’ (nice to see such precision in the allocation of postcodes to an anti-scene). Roughly divides into 1) skinny, wiggy and, yes, angular urgent guitar sounds (that’ll be the artpunk) and 2) cheeky synthy popetty pop (um, electro-pop). Zeitgeistingly, lots of these songs appear to be plundering the early eighties and for some reason (an artpunk reason, I suppose) there seem to be lots of Siouxsie & the Banshees (pre-swirling goff) bits in here. Cheeringly, there are plenty of women to be heard in the Angular scrum. Let's have a bit of an old listen...

Bloc Party: The Marshals Are Dead - S’not just F***z F*******d (NME have used their name so much there aren’t enough letters left for anyone else to use) what can do that snotty, stompy, pasty faced chgg, chgg, chgg scratchy guitar groove. Thrillsweeping.

The Fairies Band: Pink Socks Rock - Tensile guitar strings, ace snappy girl vocals. And a joyful squealing chorus like Elastica being very RUDE indeed. Hell Yeahh!

The Vichy Government: Make Love To The Camera - Irish voice sneers ‘Shut your fucking mouth and get in the limo’ as one fingered Casio tune beeps and plips. A sweaty-silk-stockinged commentary on the whole manufactured popstars thingy.

Nemo: Picadilly in Sepia - During which Kitten is transported back to olden tymes, hunched over a plunky tape recorder feeding a nascent interest in pop musik, listening to the swoopy swoony synthsounds du jour. Much talk of chrome and apexes of boredom and being ‘naked on the underground’ (in, like, a metaphorical way. Probably). Fantastic.

The Violets: Laxteen - More fine powering female vocals. Scrapey guitars. Banshees Banshees Banshees. Should win some kind of prize purely for the fact that they’re described as ‘punk delicate’.

Luxembourg: Making Progress - Spearmint-esque sound of the underdog with heart-melting chorus and loong kitchen-sink story talking bit. ‘Anne-Marie’s been having a bad day in the call-centre she works in’

The Swear: High Rise -Nagging, jagging guitar line and art-student next-door vocals combine for a home-made new-wave nugget.

Elizabeth Harper: Don Juan - Prime breezy janglecore (isn’t it great the way you can put ‘core’ on the end of anything to create a genre) with sweet and gulpy girl vocals.

Lovers of Today: Guy Fawkes - Spare, creeping, creepy. Brrr.

Art Brut: Formed A Band - ‘Look at us/ We formed a band!’ If they were honest, all bands would get on stage and yell this to the sound of bullet-spraying guitars.

Lady Fuzz: What It’s Worth - Crawling bassline, sparse pots’n’pans’n’hanclaps percussion, cool yet scary disdainful woman slings vocal over the top. Ace piece of rumble-pop ensues.

Gifthorse: You Save My Life, I’ll Ruin Yours - Seems to have escaped from ‘Dogmanstar’.

The Bridge: First Frenzy - This time Kitten is transported back to slightly less olden tymes, huddled in bed with a radio (or ‘tranny’ as they amusingly used to be called) listening to John Peel playing records by loping, fuzzing bands who wear holey black jumpers.

Mark Sampson: The London Eye - Hmm, simple meat ‘n’ potatoes guitar strumming and blokey estuary accent. Billy Bragg thing then innit? The exception that proves the rule

RRRG: Trompe l'oeil rubbery disunion

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