Zeke Dirty Sanchez (Epitaph/Sonic Unyon)
Bosco / Les Innocents Paramour (Inca/Musicor) / Self-titled (Virgin/EMI)
Katerine Les Creatures (Barclay/Universal) Since we're on the theme of French stuff, let's check out the latest from Phillipe Katerine, erstwhile mimic of the '60s gogo thing. Back with a more mature and substantial release, Katerine has rounded up jazz-pop oddities the Recyclers for backup, J-pop cutie Kahimi Karie for a duet, and the guys from Mellow (the other Air) at the mixing board. The results are impressive, allowing for occasional forays into surreal monologue and musique actuelle. Most of the material here, though, echoes the lazy grandeur of the efforts of his unstated spiritual godmother Brigitte Fontaine. Like her, Katerine knows that he can be as goofy and bete as he wants, provided he keeps a straight face and he won't compromise an ounce of sleazy Gallic elegance. 8/10 (Rupert Bottenberg)
Stray Cats Greatest Hits (EMI/Capitol)
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Being a Zeke fan, even I was taken aback by the sheer brute punk strength emanating from Zeke's new masterpiece, 15 songs clocking in at a mere 21 minutes. Just check out the titles: "Let's Get Drugs," "I Don't Give a Fuck," "Fucked Up City," "Drunk," etc. Blind Marky Felchtone's fever-pitch screaming is seeped in anger and locks onto anything that moves in the crosshairs. This quite simply is one of the most flawless punk records I've heard in years (and will remain so, at least until the next Dwarves record comes out). Punk's got young, loud and snotty again, only played just a little faster. 9/10 (Johnson Cummins)
It may seem a gross simplification to review these disparate albums together just because both groups are from France, but there's something else at play here as well. Bosco arrive with little fanfare but all the baggage of yet another groovy French electro duo, but they're decidedly "on some other shit" than Daft Punk or Air. To consolidate their sampling-meets-live approach, 
Stephane Bodin and Francois Marche went to the unlikely locale of Tucson to record with American rock producer Jim Waters, and the results are delightfully difficult. Between some Paul's Boutique monkeyshines and a healthy love of noise, Bosco occasionally lock into a brilliant groove or hyper-melodic loop. But be warned: they come from the country that gave us the Moulinex. Les Innocents' brand of rapprochement with anglo culture runs much deeper. A pop-rock group that's been around for over 10 years, the quintet come off like Frenchmen just dying to be Englishmen (see Les Rythmes Digitales for the opposite). In debts owed the Beatles through Squeeze to Radiohead, Les Innocents ring so thoroughly British that their jangly jingles actually sound like they're sung in English. As we say in both languages--bizarre. Paramour 8/10, Innocents 7/10 (Chris Yurkiw)
Although you can still pick up a slightly-scratched LP copy of their debut record for about 50 cents at any garage sale, this greatest hits package (their second one!) is actually a great listen. Looking back with a new perspective, this trio's approach to rockabilly comes across as heartfelt, and not just the penning of AM radio flirtations. Yes sir, boys and girls, it's got all the hits, like "Stray Cat Strut," "Rock This Town" and "Rumble in Brighton," but it's the live versions of the aforementioned songs, played with greased-up fervour, and the rare B-side songs that will have you avoiding the garage sales for a while. 8/10 (Johnson Cummins)