Jamie T’s second album in two years is a punk, rap, pop and hardcore tour de force
Presents Jesus Life For Children Under 12 Inches
[a]Kid Loco[/a] loves smoking grass - it makes his world "a funny place" - about as much as he hates [B]Air[/B]....
Most dedicate their albums to God or their loved ones, but Loco has opted for Jimi Hendrix and, more pertinently, Andrew Weatherall. Aside from his feelings about Air and grass, what's best known about Loco is his deference to the curmudgeonly old dance renegade. Back in the early-'90s, working with bands like One Dove and Saint Etienne, Weatherall laid down a potent blueprint for spaced-out dance pop with cooey female vocals and, lo and behold, Loco is partial to that blueprint, too. Saint Etienne make an appearance, Loco's rerub of '4.35 In The Morning' positioning the oldest swingers in town in more urbane environs than even they've managed. This approach is repeated with The Pastels, investing the previously prosaic 'The Viaduct' with a beatific glow.
For a former punk, Kid Loco doesn't half like his music molasses smooth these days. Even Mogwai's 'Tracy' emerges with melodicism reigning over distortion. Pulp's 'A Little Soul' sounds like it's being beamed down from a fluffy cloud, while the rather less well-known Gak Sato's 'Penetrate' might soundtrack a chemically-enhanced tea dance.
Loco's prowess lies in ensuring his sonic gumbo is tender but rarely lightweight. As with arch foes Air, there's a magnitude to his chilling and that's no less evident here than on his 'A Grand Love Story' LP. Oh yes, and in this instance you get soft porn on the cover, too.
Character studies and ready melodies abound in the latest record by the Oxford quartet
A battle-like record where fear and dread rule
Another gripping Pedro Almodóvar mystery, full of vibrant visuals and emotional revelations
The Californian succeeds, once again, in exposing the ugliness of mankind. It’ll get under your skin