Full Tilt 3 2CD
Apparently 'The Longest Running Club in the World', Full Tilt at the Electric Ballroom, on the evidence of this, appears to be the home of those kerrazy Cybergoth people who seemingly turn to dust if they stray any further from Camden Market than Chalk Farm Road. This, the club's third compilation CD, released in association with Kerrang!, slings together some predictable dance metal (Pitchshifter, Killing Joke, Ultraviolence), with some bizarre diversions (Moby, Luke Slater, Depeche Mode) and is perhaps most notable for the debut of Eminem's new side project with Royce 5-9: Bad Meets Evil. Bad Meets Evil shows hip-pop's saviour reaching that plateau in his career where some out-of-ideas fool at the A&R department suggests going 'rock'. Bad Meets Evil do however, affirm the assumption that all this rap metal stuff really isn't going to improve any on Anthrax & P.E's Bring Tha Noize. And, c'mon, that was hardly the bollocks. As for the compilation, it hangs together well enough, although it would have been nice to see a proper DJ set mix, rather than a handful of floorfillers and a few ropey remixes. And Christ only knows how the Buzzcocks' Boredom ended up tacked on the end. Not the best metal compilation to emerge recently, but it'll make a welcome enough soundtrack to slapping on the kohl before a night out swapping cider-tinged spittle with partially-decayed Goths from Stevenage.

At eighteen years old, Full Tilt boldy claims to be the world's longest running club night, currently sited at Camden's Electric Ballroom. Logically enough, this is the third in a series of compilations of "recent and forthcoming floorfillers from the club", which rather makes you wonder what kind of prophesising algorithm, popularity divining stick or time machine is being used to predict the forthcoming floorfillers. Minor logical pedantry aside, this is quite a bracing disc, riddled with familiar names. Eminem sneaks in in the company of Bad Meets Evil and Royce 5-9, performing "Nuttin' To Do", which is Slim Shady meets heavy metal, and consequently more likely to be of interest to yer average tattooed and pierced Full Tilt denizen. There's a cracking Torsten Stenzel vocal dub mix of Moby's "Porcelain", which, despite being snugly wrapped inside just about every dancefloor cliché west of The Chemical Brothers works marvellously. Ultraviolence's "Sex" is a bonkers, giddy rush that you can't help being swept up in, and perched rather nervously and precariously at the end of the night is the old Buzzcocks classic "Boredom", which I'm delighted to welcome into my collection. Dub War's "One Chill" is an impressive, laid-back but danceable piece, and old campaigner Jello Biafra makes an appearance to shout paranoid technofear anti-propaganda over Pitchshifter's "As Seen On TV". Of course, amidst all this largesse you have to endure half a dozen bands who strain every sinew to sound like Depeche Mode (one of whom, it appears, actually is Depeche Mode), but overall "Full Tilt Volume III" is a respectably eclectic and electric package.And as if you're not chomping at the bit already, it arrives with a bonus CD peopled with the music of a dozen unsigned bands, selected in association with Kerrang!. Although of a growlier, less electro persuasion than the main feature there's still much that is perfectly listenable here (I'd rather be stuck on a desert island with this than "Farnborough Groove Volume 9"), and not necessarily all that obscure either - even I've read about Throat Oyster before now.