Music
Sneaker Pimps used to be synonymous with trip-hop. The Hartlepool band hit the big time in 1996 with their third single, '6 Underground', an ethereal, sophisticated single that put them straight onto the musical map, thanks to elfin singer Kelli Dayton's breathy vocals and the rather unearthly musical accompaniment, with its hook lifted from the soundtrack to the classic James Bond flick Goldeneye. Their subsequent album, Becoming X, saw them become seemingly irretrievably associated with the trip-hop genre, along with such bands as Portishead and Massive Attack.
Their niche seemed secure, but then it all went downhill for Sneaker Pimps. Kelli left the band, and their second album Splinter was poorly received. Finally, the band split from their record label, One Little Indian.
Without a record label, or the singer who made their name, Sneaker Pimps could easily have been forgiven for packing it all in, but despite all the odds the remaining members carried on, with Chris Corner taking over on vocals. They signed to Tommy Boy records last year and began recording in a French studio. The result is Bloodsport, their third album. At this point, members of James should sit down and take note: it is possible to make a great record without your lead singer. For this is a truly wonderful record. Corner's vocals are robust yet tearingly expressive, in the manner of Crispin Hunt or Jeff Buckley, and the album is packed full of riffs to die for. Clearly, Bloodsport takes inspiration from the more interesting Britpop bands (Longpigs, Mansun) yet it goes way beyond them in its expressive intensity and musical complexity. Nevertheless, the glorious Britpop-style choruses remain a central aspect of the album, from the bitter opener 'Kiro TV', through 'M'aidez' - a gentle, impossibly beautiful guitar track with a soaring refrain - possibly the highlight of the album, right through to the closing 'Grazes', a languorous yet epic trip-hop trance topped with guitar solos and, yes, breathy female vocals. Elsewhere, 'The Fuel', 'Blue Movie' and title track 'Bloodsport' are infused with darker and more rhythmic electronic elements. This album flawlessly and skilfully marries the old dreamy electronic trip-hop elements to a tuneful, infectious, indie guitar-based style. And the effect is astounding. You are left with the impression of almost painful sincerity: Sneaker Pimps are unafraid to be incredibly heartfelt, which is truly refreshing. However, it also means they are not afraid to be unfashionable: Bloodsport has received virtually no media coverage and will undoubtedly bomb, sales-wise. Epic trip-hop/Britpop crossover albums are so passé, darling. Maybe so, but when they are as brilliant as this one, certain prejudices should be laid aside. Take a trip back to 1996. You will enjoy it.
Abandoning the Korn/Deftones influence of their 2000 Refining The Theory debut, stars of the British underground Miocene produce a surprise follow-up indeed. Not a completely new direction, as it follows 'Angels and Earthquakes', Refining's bonus track, but a surprise nonetheless. Elements of Tool are still recognisable, but by adopting synths, cello, clarinet and French horn the band have produced a truly startling follow up. This 44-minute, six-track EP sounds far more like the laid-back chilled jazz and beats of DJ Shadow or Massive Attack than a band previously billed as nu-metal starlets. Meandering past like one chilled-out jam session, it's perfect for lazy, relaxing summer afternoons. Largely instrumental, this record surely won't be to everyone's taste, and will almost certainly alienate the more narrow-minded of their old fanbase, but for its bravery it certainly deserves to be given a chance.
Every now and then a record comes out that restores your faith in pop. This I suspect is it for this year. Replete with a new member, the delectably Scouse Heidi, Sugababes are even more self-assured than when they last stormed the charts at the tender age of 16. Though their trademark influences are apparently "more TLC than Mel C", 'Freak Like Me' samples Tubeway Army's 1979 hit 'Are "Friends" Electric?' for its eerie electronic backdrop, with vocal harmonies bouncing off each other to produce a song which will not only be in your head all summer, but also restores faith in the genius of Gary Numan. Confident, sassy and oh-so-cool, this should be the biggest-selling single of the year.
As expected, Oasis' comeback causes fierce argument between your senior editorial staff; not concerning its unquestioned quality, but rather the origin of the magical, but plagiarised, riff. Breathtaking B-side 'Idler's Dream', a warm, intimate piano ballad sung by Noel, is the essential track here, showcasing his ability to portray not only the beauty of Northern hedonism, but, as time goes by, the hopelessness increasingly lurking beneath the bravado. Buy it, play it, fall in love all over again. RH
Yet another piece of timeless beauty from the ever-elegant Doves, this is a seven-minute masterpiece, full of explosions of colour, and a timely reminder of precisely why any follow-up material to their gorgeous debut Lost Souls has been so heavily-anticipated. Jimi Goodwin's vocals hang achingly in the air, almost single-handedly knocking the stuffing out of you. Unfortunately it was deleted on the day of release so if you didn't buy it on Monday you're gonna struggle to find it. MUAHAHAHA. RD
It's a shame that 24 Hour Party People has just been released - if this lot had been around during casting there would have been no need to look for people to play Joy Division. Built around a simple Hooky-esque melodic bassline, it's a very decent stab at imitation, if less bleak and desolate. Onstage, singer Yan does his best Ian Curtis, flailing wildly, complete with mad staring eyes and a penchant for making the lyrics completely indecipherable. Promising single. JS
Contributors: Rich Douglas, Ria Hopkinson, Jimbo Speed
Following on from the success of Slipknot and Nickelback, Roadrunner try to capitalise with their latest up-and-coming nu-breed metallers 36 Crazyfists. Hailing from Anchorage, 36 Crazyfists may seem a bit isolated from the current crop of mainstream metal stars, but this, their long anticipated debut, presses all the right buttons. Typically of the scene at the moment, it offers little original, but at least the influences can't be faulted. Coming across as hardcore-tinged nu-metal, a hefty dose of Glassjaw with melodic edges reminiscent of Deftones and Lost Prophets, Bitterness The Star is certainly competent, if not quite amazing. Frontman Brock Lindow's vocals are the only feature to stand out, but give what would be almost nu-metal-angst-by-numbers tracks like 'Turn to Ashes' and 'Slit Wrist Theory' an extra edge. Although it takes a couple of listens, the album offers more than most of the current crop.
The less bone-crunching 'An Agreement Called Forever', for example, demonstrates a lighter and more mature side. Altogether an impressive number of influences are blended into 46 minutes that should please most fans. Despite seeming at times to lack variety or a cutting edge in the overcrowded nu-metal angst-market and the occasional dud (the rather unconvincing 'Left Hand Charity'), 36 Crazyfists have a debut that certainly establishes them as ones to watch.
For a group not yet at legal drinking age (in the US) to call their major debut 'Untitled' certainly smacks of confidence, but Five Pointe O have the music to back up such a title. Slightly different from the current metal crowd emerging from the USA, Five Pointe O offer a distinctive metal-tinged hardcore, very similar to Vision Of Disorder. Granted, that isn't new, but for such a young band, they pull it off admirably. The album is a mature and diverse offering, ranging from the 'chik-chik-kaPOW' that opens the stomping 'Double X Minus', to the tribal drumming on 'Purity 01' (sounding like the intro of Machine Head's 'Exhale the Vile'-meets-Soulfly, combined with a Millennial message) and the truly astounding 12-minute closing track 'Aspire, Inspire'.
Five Pointe O not only manage to compare very favourably to a host of more established names throughout their album (Sepultura, VOD, Pantera) but also tackle far more interesting issues than most nu-metal whinging, focussing on the state of the world since the millennium/September 11th. Such emotional maturity and musical breadth is certainly impressive, and even more so in a young band. Possibly one of the most essential metal debuts of 2002.
25th Apr 2002