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Everybody Loves Urusei Yatsura

Twelve reasons to fall in love with [B]Urusei[/B] all over again...

Everybody Loves Urusei Yatsura

7 / 10 Of course everybody does. Until it's time to reel in the wallet chain and buy the actual records. Whereupon 'everybody' suddenly remembers they're washing their hair tomorrow night and never calls again.



So after an EP-long stint on Beggars Banquet, the squally Glaswegian wunderkind are releasing their third - and most accomplished - album on their own Oni label. Depending on the size of your fanzine collection, this is either a [a]Delgados[/a]-style DIY triumph, or proof positive that Urusei's serrated lo-fi pop will never take over the world.



A shame, because in theory there's a [a]Pavement[/a]-shaped vacancy at the heart of guitar pop, and Urusei - vanity publishing or not - should be a shoo-in. Indeed, the fx-warped 'Silver Dragon' aside, 'Everybody Loves...' boasts more thrilling Velvets- style chug-pop and less navel fuzz than ever before. Songs like 'Louche 33' and 'Eastern Youth' scrap Urusei's more spattery excesses for tunes, tambourines and Mary Chain 'sha-na-nas', with no loss of cool. 'Our Shining Path', meanwhile, is as fierce a guitar feeding frenzy as they've ever written. There are useful experiments, too: beanpole heartthrob Fergus Lawrie's sweet alienation ballad, 'Sores', and Graham Kemp's analogue haiku, 'Osaka White'.



Twelve reasons, in short, to fall in love with Urusei all over again. By rights, they should be adored, showered in small Japanese wind-up toys and fanned with rare comics. You fear, though, that in these cruel times, they'll be roughly used, and then hit for a cab fare home.

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