THE VOICE OF CHICAGO'S GAY, LESBIAN, BI, TRANS AND QUEER COMMUNITY SINCE 1985

nostalgia in clubs and on the radio shows no signs of relenting. Sue Denim and Dee Plume, the

emotionally detached, mullet-headed duo known as Robots In Disguise, have more humanity and warmth in their songs than they'd like you to believe, and that's what makes them and their album, Bewitched (Recall), so enjoyable. Whether they are defending their art in "D.I.Y.,' tapping into to what makes guys tick in 'Boys,' or taking an acoustic detour on 'Postcard From,' the songs have a degree of sensitivity. 'Argument' percolates with fury and vengeance, 'Mnemonic' is a lesson in 'tricks to remember,' '50 Minutes' is the musical equivalent of claustrophobia, and 'Cycle Song' made me think of Soft Cell. This bewitching duo could easily inspire a new wave dance named in their honor, as well as visions of skinny ties and spiky, multi-colored hairstyles.

Saint Eve, the female fronted industrial dance band (think early Ministry propelled by XX chromosomes) traces its origins to gay and fetish clubs. It's not difficult to imagine Saint Eve mingling with the community, singing its songs about obsession, insomnia, and lust or any other topic they cover on Elixir (www.thesainteve.com). A father's 'pearls of wisdom' are discarded in 'Special Toy Surprise,' a head full of voices haunts 'Bete Noire,' and an

emotional hemorrhage floods 'No Human Words.' Saint Eve adds electroclash flourishes to some of the songs, giving its nine inch nails a new coat of polish on songs such as 'Good Intentions,''Reina Roja,' and 'Frame Of Mind.' Saint Eve close the disc with a pair of unusual tracks; the first is a cover of REM's 'It's The End Of The World As We Know It (And I Feel Fine),' in which the famous rapid-fire musical list is recited over a simmering electronic beat and 'Spring Cleaning' is a spoken word relaxation exercise that might work if I could only learn to relax.