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"DIASPORA"

Natacha Atlas, singer for  mixmasters Transglobal Underground, released Disapora in 1995, but since then, pan-ethnic dance music has increased in popularity, so MCA decided to re-release her album -- and it's a good thing that they did.

Intended as a tribute of sorts to the film soundtracks of early Middle Eastern films, Diaspora is a broad snapshot of spreading cross-cultural exchange. While there's not quite as much genre-hopping in Diaspora as there is in Transglobals' new album, it does combine Atlas's Middle Eastern style vocals, a variety of sampled and live music and dance beats to create a hypnotic sonic pastiche that works on two levels.

On one hand, I could conceivably listen to this album and still get work accomplished; on the other, there is enough sonic experimentation to occupy an active listener.

Most of Transglobal Underground makes a showing on this album, including head honchos Alex Kasiek, Count Dubulah and Hamid Mantu. While the style is fairly consistent on this album, they've crammed just about everything in but the kitchen sink. That includes several elements that one would not usually expect to find on a classical Middle Eastern film score, such as midi-saxophones, break-beats, drum loops and even English.

Sonically akin to Peter Gabriel's Passion and much of Bill Laswell's material work, this album is catchy enough to be worth buying not only for world music aficionados, but also for the casual listener.

While you're at it, you might also try the new Transglobal Underground release as well. It's much better for you than Enya.

-- James Chao

SKY CRIES MARY

"MOONBATHING ON SLEEPING LEAVES"

The title should give something away immediately as to what this band sounds like. The term dark comes to mind, or maybe gothic.

An uncanny mix of Dead Can Dance, the Doors, and 70s progressive rock like Pink Floyd, Sky Cries Mary is definitely a band that decided early on that there can never be too much reverb.

For fans of arena rock albums, this may be quite a boon; on some tracks just about everything is drenched in delays and echoes, which can induces the queasy sensation that one is trapped in a gigantic vault.

Though Moonbathing On Sleeping Leaves is occasionally a bit too heavy on the superficial Middle Eastern influences à la Led Zepplin, thankfully it's simply a bit kitschy most of the time and not obnoxious. But just when you think you've got SCM figured out, they throw a curve ball, such as the excellent, early 80s new-wavish "Moonbathing" which wouldn't sound out of place in the Human League or 'Til Tuesday discography.

The main problem with SCM is when it starts to dive into wailing, Queensryche territory. Thankfully, this is kept to a minimum.

The closest modern rock band analogies would be to the prog-pop band Eleven and maybe roots/folkies Wild Colonials. This may not be the best band you ever hear, but all in all, it's not bad.

-- James Chao

JAMES

"WHIPLASH"

While they may never achieve the fame and notoriety of some of their fellow British pop colleagues, James has developed a quiet reputation for well-written tunes through its work on multiple albums. With Whiplash , the group manages a triumphant follow-up to their last studio album, Laid .

Whiplash has all the elements of previous James albums: soaring melodies, jangling guitars and the beautifully lucid vocals of frontman Tim Booth.

In addition, this time around there are a few surprises: most notably the incorporation of electronic music elements in certain tracks, such as "Play Dead."

However, Whiplash keeps the electronica to a minimum and so does not compromise the band's songwriting strength.

James has perfected slide guitar technique, which has become one of its trademarks -- and Whiplash is no exception. Highlights of this sound include the darkly beautiful "Lost a Friend" and the pop gem "She's a Star."

In these two songs, Booth makes it clear that he possessses one of the best male voices among all British groups.

His amazing range in "She's a Star" and his ability to convey depth of emotion in "Lost a Friend" make for wonderful listening.

Quite simply, with Whiplash , James manages to add new components to its music without sacrificing those which makes the members of the band some of the premier songcrafters in the business.

-- Steve Yang

BETTIE SERVEERT

"DUST BUNNIES"

A good number of people have described the sound of Bettie Serveert's latest album, Dust Bunnies, as "indie pop." Some may like that, but some will probably think otherwise, because that label invariably conjures up images of Green Day.

I prefer to think of them as a slightly moody pop rock group with the necessary chunky guitar chords and female vocals to make them interesting.

Carol Van Dijk (vocals, guitar), Peter Visser (guitar), Berand Dubbe (drums) and Herman Bunskoeke (bass), make up the Dutch quartet that formed after the 1991 demise of another band with which they were all associated. Several singles and two albums later, the band built a following both in the United States and in the Netherlands and is also starting to receive positive media attention.

The Bettie Serveert style ranges from slightly edgy melodic rock tunes such as "Geek" (the first song off the new album) to the intensified "Co-Coward" which may be their first single released in the United States. This, and I hate to say it, is probably the best song on the album, combining a simple melodic intro with an intensified chorus and a whirlwind ending. Don't get me wrong. I like the song, I just don't think I could stand to hear it one hundred times a day.

Other songs, such as "The Link" and "Story in a Nutshell," give a fairly accurate description of the Serveert sound with guitars wavering between quiet interlude and manic fury.

Dijk's delivery is always strong and her lyrics are, on the whole, fairly interesting, but their meanings are often complicated by their personal nature.

Her voice is backed by jangly guitars and a solid, but mostly uninteresting, drum beat that form a nice "package" of music clean enough for the big leagues of popular radio.

Dust Bunnies does not seem to have the same sort of "insta-hit just-add-water" feel as other albums (notably No Doubt ); still, it has a charm of its own that, given the chance, you might just dig.

-- Eric Muñoz

PAULA COLE

"THIS FIRE"

The liner notes of Paula Cole's This Fire state: "This work is dedicated to the inner fire of all life. May our seeds of light open, brighten and sow peace on earth." Her poetic grasp of language and her sweet voice make this an impressive major label debut for Cole.

The self-produced album not only highlights Cole's sensual, strong voice, it also showcases her music writing ability. Cole developed her skills at the Berklee College of Music in Boston.

Most songs on the album are slow, melodic dirges rising and falling beneath Cole's enchanting voice, weaving an interesting tapestry of bright and dark sounds in a style similar to that of Tori Amos.

However, this meandering style may not lend well to popular radio play. Cole's first (and probably only) single, "Where Have all the Cowboys Gone?" does not exemplify her style.

"Nietzsche's Eyes" fills this role much better. This slow ballad leaves Cole's voice naked and exposed to scrutiny.

It is doubtful that Paula Cole will be a one hit wonder, here today and gone tomorrow. Perhaps, instead, she will become a permenant fixture in an "underground scene," building legions of fans loyal to her poetic style and melodious intensity. I don't think that would be a bad thing.

-- Eric Muñoz

This item appeared in the Arts & Entertainment section of the April 25, 1997 issue.