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This month's historic encounter with Alice Coltrane, one of The Wire's most revered yet reclusive core figures, i s the result of several years of cold leads, despite putting out more feelers than a white winged moth. For too long she has remained in the shadow of her late husband's admittedly towering achievements, yet her own corpus of no less than 11albums in ten years remains unsurpassed: usually filed by default under 'jazz',but in its coruscating ambitiousness and vitality of colour, her work soars way above genre lines. It is, of course, unforgivablethat some of her best records are still so hard to find. That two of her Impulse! releases have been 'disappeared' since their early 70s vinyl pressings is a damning indictment of the lack of imagination of the companies that have successively owned the Impulse! catalogue. I repeat our thanks to everyone involved in bringing off this major project, not least Edwin Pouncey for his prodigious research, and Jake Walters for his vivid photography. As far as we can tell, this is the longest article on Alice Coltrane ever to have appeared in print.

Hearing her deep seated belief in the power of sonic vibrations reminds you of the importance of music as far more than a leisure product. Ken Hollings's report from the new Berlin provides an interesting inside story on how the city's distinctive Techno, once the province of underground club life, has come to represent something much more profound about Berlin itself. It has risen to the point where a label such as Tresor can enter negotiationswith town councillors to persuade them of club culture's value as a tourist draw and as export material -this, in a climate where the annual Love Parade can attract a staggering million souls to the heart of the city. There is even talk of Tresor occupying former federal buildings as a tower of Techno... watch this space. Our other main features illustrate the seriousness that can exist within the most playful musics. Steve Beresford has had a remarkable longevity in all walks of English free music, whether tweeting toy guitars In 'kitchen sink' lmprov formations or as an individual involved in a dizzy array of musical situations, from pioneering UK dub to Derek Bailey's Company Week, as well as sundry UK free music outfits whose tales are now rarely told. His story, told in depth by Julian Cowley on page 24, opens out an area of fertile English musical soil that i s gradually revealing long buried treasure - see, for example, the David Toop compiled double CD set Not Necessarily 'English Music', reviewed last month.

Every few years, some hack pomes along and reminds you that pop will eat itself - the cliche falsely implies this gluttony is destined for some impending moment in the future rather than always already taking place in the consumptive present. In his Tangents essay (page 46),Peter Shapiro points to the extraordinary appearance of Kylie Minogue on the recent Brit awards. When she seamlessly grafted the l vocal of her hit 'Can't Get You Out Of My Head" onto New Order's "Blue Monday", she copied what a surprising amount of covert bedroom operators have been doing for years now: genetically engineering mutants from recognisable but disparate pop elements in a process that's one part playful tribute, one part thermobaric plunderphonia. Girls On Top's "I Wanna Dance With Numbers" 7", which spliced Whitney Houston's vocal with a Kraftwerk groove, was one of last year's more guilty pleasures. As the article '

explains, a sea change IS in progress in which large record companies are taking more of a 'Can't beat 'em, so join 'em' attitude t o sampling culture. On the strength of his Girls On Top productions, in fact, Richard X has apparently been signed up to produce the next Sugarbabes record. Go figure. ROB YOUNG

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Adventures In Modern Music Issue 218 April 2002 E3.30 ISSN 0952-0686 (USPS 006231)

Editor-in-Chief & Publisher Tony Herrington

Editor Rob Young Reviews Editor Chris Bohn Assistant Editor Peter Shapiro

Projects & Web Editor Anne Hilde Neset

Advertising Manager Andy Tait (7422 5014) Advertising Production Slim Smith

Subscriptions&Administration Ben House, Phil England (7422 5022) Office & Admin Assistant Ruth McNeil

Alt Direction & Design Kjell Ekhorn, Jon Forss

Words Steve Barker, Mlke Barnes, Ed Baxter, Cllve Bell, Chrls Blackford, Marcus Boon, Ben Borthwak, Phlltp Clark, Byron Coley, Jul~anCowley, Chnstoph Cox, John Cratchley, Alan Cummmgs, Bnan Duguld, Phll England, Kodwo Eshun, Matt ffytche, Sasha Frere-Jones,Loulse Gray, Natalle Gravenor. Andy Hamilton, Jlm Haynes, Rlchard Henderson, Ken Holllngs, Hua Hsu, Davld Keenan, Monlca Kendnck, Rahma Khazam, B~baKopf, Art Lange, Alan Llcht, Howard Mandel, Dave Mandl, Jerome Maunsell, Andy Medhurst, Will Montgomery, I

Jon C Morgan, John Mulvey, ian Penman, Tom Perchard, ' Ed Pinsent, Edwin Pouncey, Slmon Reynolds, Tom Rldge, Stephen Roblnson, Chrls Sharp, Phlllp Sherburne, Bill Shoemaker, Mark Slnker, Dave Tompklns, Davld Toop, Dan Warburton, Ben Watson, Don Watson, Val Wllmer, Barry Witherden

Images Amy &Tanveer, Frank Bauer, Nigel Bennett,

Hamish Brown, Mattias Ek, Olly Hewitt, Tim Kent, Simon Leigh, Sebastian Mayer, Non-Format,Savage Pencil, Michele Turriani, EvaVerrnandel, Johnny Volcano, Jake Walters, Wandy


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