Sunday, October 30, 2005
In shops tomorrow : 31/10
Jamie Lidell's journey from IDM to mutant funk to Autechre-do-jazz to electronica soul suggests very little taken as linearly as possible other than he likes messing about. Something as conventional as a well signposted single, therefore, might have seemed unlikely, but here's the title track from Multiply. It was a year Monday just gone since we saw Franz Ferdinand, which we mention because they were supported by the Kills, with stickers and handbills for the then forthcoming No Wow album littering various concourses. We mention this in turn because the title track is released as a single this week. Didn't they look out of place at Fashion Rocks? The director could hardly bring themselves to cut to them. Among what nobody in the blogosphere actually refers to as the blogosphere, those who also attended Summer Sundae seem to have been underwhelmed by Patrick Wolf, but we'll fight anyone who believes differently to us, that is that his was probably the most stunning indoor set of the whole three days. His deconstruction of Tristan was a highlight; the rest of you get the electronic version. 22 Grand Job is what The Rakes should have been about all the time - head down, charge for the line, litter the path with bitterness-flavoured sarcasm. Still haven't actually heard We Laughed by Rosetta Life featuring Billy Bragg, but as mentioned in our Christmas number one betting analysis last week it's all in a great cause, as Billy illustrates.
Here we find a label in a quandary - what to do with Gemma Hayes? The Roads Don't Love You is less abrasive than her 2002 debut, which could publicity-wise well leave her open to admission to the Dido/Jem/Tunstall club that she doesn't deserve. Radio 2 not picking up on it helps in that regard. Former head Red House Painter Mark Kozelek is an individual man, as proved by his acoustic AC/DC covers album and EP. This time around, in his Sun Kil Moon guise, Tiny Cities tackles the back catalogue of Modest Mouse, stripping it right back and highlighting Isaac Brock's storytelling. As if to prove the original comment, he's in the new Steve Martin film. There probably is no good way of putting together something like Dancing In The Streets: Motown's Greatest Hits or, if to a lesser extent, Death Row Greatest Hits without a lot of bloodying of critical noses. Still, every home should have one. Or two.