(3-TRACK SINGLE/ 2000)
Punkish Glam titans King Adora were so-called after their lead singer Maxi Browne saw a huge vibrator in a sex-shop window bearing the enticing term. Now try Big Yoga Muffin on for size, and see what you think. Their set @ Leeds �00 Festival on the second stage was one of the most originally awe-inspiring and alternative, yet perversely observant title-track �Is That How You Get Off?� (�A picture of a family hangs uneven on a wall�) can easily annoy, its Electro dance-rock with a funky-pop bridge even tending to rap, harmonious �Whoah, ohhs� luckily uplifting the quality melody out of the frustratingly headed-nowhere choral trench. Made Of Water�s more like it� a lot more like the BYM of my preference, the orchestral intro hand-shaking the subtly lush guitar. Distancing themselves from the previous danceable-rock, �M.O.W.� focuses intently on atmospherics, gradually speeding-up as the pop-orientated flush of the acoustic guitar playfully turns-on the piano supporting from below. Discussing injustice (�The whole world�s doing time� �I can�t even die,� he said�), it mouthwaters as another musical shade is layered over, then another other that. Somehow akin to The Levellers, they�re maybe not meant to touch on political issues, but sound to want to, and win us over� �Daddies burning hippies at Sunday mass.� Let�s Not Talk About Me, musically, is punkier, as a disjointed guitar solo and backing handclaps make a mockery of the type of epic instrumentals Mogwai self-manipulate to sweeping effect (even if their new slowie in �Sine Wave� struggles against Rock Action�s banjo-bejewelled �2 Rights Make 1 Wrong��). Here, the needle sticks as the �Muff experiment in how to ultimately disengage and trip-up in their otherwise formidable stride, but a rock riff mid-track can be picked-out, while they�re generous with a percussion-lashed interlude. Talking about F-all, the final seconds play out to a revving motorbike. That stalls� sparing gasped-for breath in Made Of Water�s favour: a classy example that sensitively shows the softest, most promising and elegant side to their contemporarily beat-boxed sadness. (STEVE RUDD)
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