Reviews

"Not everyone can relate/To what you and I appreciate," croons Devendra Banhart on one track of this fourth effort. It may be the truest, least cloying sentiment he's ever uttered, certainly on disc. Recorded at the same sessions as his recent Rejoicing In The Hands debut, it's a similar anthology of songs shot through with naïve, awestruck wonder, delivered in a warbling croon that's equal parts Ed Askew and Robbie Basho, over steadily thrumming finger-style guitar.

Welsh shellsuit devotees marry scatological humour to hip hop

Fifth solo album from French-Arabic Clash fan

MOR noir on dire Geordie's solo fourth

Minnesotan micro-star forgets the thong and focuses on The Song

East London upstarts' audacious LP

Road rage and marriage angst

Spielberg and Hanks get stuck in an airport

Tony Richardson's 1968 version of the military disaster mirrors the decade it was made in, with a strong anti-war theme. David Hemmings is a young trooper, Trevor Howard his brutal commanding officer and John Gielgud the high-ranking buffoon who orders the attack. An ambitious mess, but still compelling.

Talk about narrow fucking escapes. Halfway through one of the interviews with Brian De Palma that make up the raft of extras on this special edition of his lavish gangster epic, the director mentions that Paramount's first choice for the central part of Eliot Ness was Mel Gibson. It's an appalling thought. I mean, imagine Mel hamming it up here, his narcissistic gurning turning De Palma's operatic vision into mugging farce. Fortunately, Mel had other commitments, and the role of Ness, as De Palma had always intended, went to the then relatively unknown Kevin Costner.