1st February 1999
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"When I Argue I See Shapes" by Idlewild"Palace Flophouse" is the first b-side, a downbeat piano-based track with vocoder lyrics that flares up into Sonic Youth-style guitar pyrotechnics in the chorus, losing itself into feedback and distortion in a glorious mess of noise. "Chandelier (10.15 version)" is another piano-led track - this time without guitar attacks - with the vocals and harmonies evoking early REM, the sparseness of the track creating a desolate yet attractive place into which to wander for a few moments. CD2 contains the LP version of "When I Argue...", which is longer than the radio edit but retains the immediacy and vigour. Next up is "(1903-70)", which again sees the piano wheeled out for an emotive ballad to some unnamed hero ("all he had was his good looks"). Sounding again like an REM demo track, this is one of those hair-raising moments that only come along once in a while. Savour it. By contrast, the live version of "Last Night I Missed All The Fireworks" (recorded at Reading) sounds like the end of the world set in a guitar pedal factory, and sees Roddy swallow a catherine wheel, sixteen rockets and a packet of sparklers then chuck in a lit match. Awesome. Colin from Idlewild is selling one of his practice drumkits in the place where my band rehearses - I would be tempted, but I've seen them play live: the kit would come in approximately 300 very small pieces... Rating: 10/10
The Rest"Six" by Mansun"Church Of The Drive Thru Elvis" not only picks up this week's Best Title Award, but also impresses due to its understated intellect and melancholy submission ("we are all sinners, I know - you take life better than me". Not one to play back-to-back with "Pretty Fly (For A White Guy)" perhaps, but none the worse for that... "But The Trains Run On Time" is an 80s synth-style track, which is just a little too empty for its own good, being little more than a reedy bassline and a couple of handclaps. Slot CD2 into the machine and you get the preposterously ambitious LP version of "Six", followed by the menacing machinations of "What's It Like To Be Hated" with its earth's core bass and voices-in-your-head vocals. The chorus sits on top of the verse like burning oil floating on a stagnant pond, and the whole is an infectious (as in disease) thing of ugly fascination. "Being A Girl (Parts 1 & 2) Live" (recorded at Brixton Academy) closes proceedings, perfectly demonstrating Mansun's twin directions with the punked-up soft centre of Part 1 juxtaposed with the more meandering chewiness of Part 2. Rating: 7/10
"Maria" by BlondieTwo "your dad at a disco" mixes of the a-side merely prolong the agony for a while, making deafness seem a suddenly attractive prospect. Rating: 2/10
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