Andrew Weatherall

When Soma Records served up their dark electro Sci.Fi.Hi.Fi collection there was much dilating of pupils and gnashing of teeth. With Sci.Fi.Lo.Fi – the clever Frasier to SFHF’s dumb Cheers - the knowing reach into the record bag of cool is an honour rightly bestowed upon Andrew Weatherall. Yes, Andrew Weatherall of Bjork, New Order and The Orb remix wizardry; he of Beth Orton and Primal Scream production sorcery; he of Kiss FM migrainery.

Yet, do not expect bucketsful of synth and showers of orgasmic beats because Weatherall has shunned the blinding lazers and finger-pointing techno whoop-whoop. This enticing new spin-off is strictly organic produce, and in parts is a little tainted.

The choicest cuts of exotic meat have been culled and dished up in a roughshod chronology. The vinyl-only entrance policy begins with a fallout of obscure 50s bebop as Joe Boot And The Fabulous Winds swoon over ‘Rock N Roll Radio’ and The Rebs keep pushing the horn and double bass throughout ‘Renegade’.

Psychodelic 60s rockabilly gets an airing in (great name alert) Hipbone Slim And The Knee Tremblers’ Bo Diddley–esque ‘Snake Pit’ and continues through into the classic ‘I Want Candy’ by the blues-thumping Strangeloves.

Killing Joke, Primal Scream, The Fall and T-Rex provide the rump of the album but the tastiest morsels are closer to the bone: The Cramps rambunctious ‘New Kind Of Kick’; the Tropics Of Cancer’s murmurred cloudy mambo jive interpretation ‘Upside Down’; and Shockheaded Peters’ chilling Human League-do-Bossa Nova ‘I Bloodbrother Be’.

It is this inner selection of Nick Cave post-punk bile, and the B-movie artwork that encases it, that should relieve Tarantino of all sleepless nights spent worrying about his next movie soundtrack.

Overall, an eclectic blend that will end those Now That’s What I Call Music Xmas gifts you receive from clueless family.