Gus Gus:
"Polydistortion"(4AD) Dial-a-track code: 1311
Nine-strong arty collectives are rarely welcome round our way, but then again Gus Gus do come from the beautiful world of Iceland and create a sublime brand of modern electronica. Fusing the stoic verve of Kraftwerk and the precious idealism of Detroit with an off-kilter Scandinavian outlook, Gus Gus spring many surprises on their debut album. Believe and especially Polyesterday may echo with turbulent rhymes and strange conceits, but the music does lead the listener towards certain predestined channels and comparisons. The beautifully understated Why? and the glorious euphoria of Purple, however, put you right off track, the sheer explosive expanse of the latter in particular showing a techno side to Gus Gus which deserves to reside alongside Orbital and Underworld in any discerning playlist. For an act on their first run around the block, Gus Gus show admirable mettle. And if their 4AD alliance has you pausing for thought, just remember the label's association with M/A/R/R/S and Pump Up The Volume.
Erykah Badu "Baduizm" (Universal) Dial-a-track code: 1421
Given her background (opening for various hip-hop acts in Dallas as one half of Erykah Free with her cousin), it's no surprise that the wonderful Erykah Badu is a lot more hip-hop than, say, Puff Johnson or Dione Farris. Welding a voice which is effortlessly Billie Holiday jazz and Ella Fitzgerald class to softly-softly, slow-motion, dubby beats, Badu creates a lush and lavish soundtrack. On a track like On & On, the vocal method is almost freestyle, allowing you to believe that she's making it up as she goes along. Elsewhere Certainly and Rimshot hint at bigger issues behind the tribal war-paint and camouflage sprayed throughout the album. All in all, a fascinating debut.
Death In Vegas "Dead Elvis" (Concrete) Dial-a-track code: 1531
As the rest of the chemical beats mob jockey for position in the immediate wake of Dig Your Own Hole, the Death In Vegas combination are the first to stagger up to the starting line with a finished album. Slinky and diverse from the opening reggae-rocking All That Glitters right through such concrete dubs as Dirt and GBH, Dead Elvis will come as a surprise to anyone who doubted DJ Richard Fearless and accomplice Steve Hellier's ability to create anything other than the setting for a good rumpus. A track like Rocco, with its delicate bassline and wistful guitar, is a pleasant distraction while Sly proceeds with considerable stealth making you wish that there was more.
