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Its a funny thing that those who try to innovate tend to date the quickest. With their anarchic genre-shredding and futureproof technology hi-jacks. Or at least an acquaintance with a drum sequencer. Look at Pop Will Eat Itself now cute, huh? Even The Musics recent bid to make indie music surge and groove turned out misguided in two deflated dimensions. But with Manchesters musical electrode addicts The Longcut things feel different, we sense an untamed live wire. Which isnt to say theyll be immune to remaining locked up in 2006, just that theres more visceral beat mining here than you can shake an excited Peter Hook at, and thats not so easy to write off or tie down.
Theyre essentially The Music, but with materials beyond a mere blueprint. From a goggle-eyed Hacienda loving pace to the searing near-toneless expression of The Raptures liberal funk, the heightened blazing drone of Sonic Youth, the sterility of New Order and a post-rock knack for arranging opposing aspects and rocketing toward a climax, they are loaded to extremes, immaculately. They are Come On Die Young dancing, and with an album that can handle the association.
"The Kiss Off" is a delightful melding of the Beta Bands low altitude trundling, the KLFs sense of awe and a finale touchpaper lit under Thurston Moore. "Lonesome No More!" is first album Stone Roses interfacing with Mogwai and worthy of its exclamation mark. And if it is genuine innovation that dates a record, youve probably got about a fortnight to get this while its hot.--James Berry