Popdar! - 14/01/12 (Part 2)

#43

"Give it All Away"
My Plastic Sun


If you don't know this beautiful, beautiful song by now, it now has a beautiful, beautiful video to accompany it. So there really is no excuse to not fall in love with this effortlessly euphoric Sci-Fi ballad and this wonderful band.

TOP 50 OF 2011: #30 - #21

We continue to scale the heights of 2011's musical talent...


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#30
"Live Those Days Tonight"
Friendly Fires


The first single from the mindblowing "Pala" most definately showcased Friendly Fires 2.0: clubbier, more epic and 10x BIGGER than their debut. Scaling the heights of "Jump in the Pool" but whilst the band partied during the verses and took a breather during the chorus of that song, Ed Macfarlane and crew go from hook to hook in "Live...", huge tribal drumming and a 90s rave vibe ensuring that this was Friendly Fires as you had never heard them before.



#29
"Into the Valley" (feat. Karl Dixon) (Julio Bashmore Mix)
Classixx

First remix of the list, and continuing with the rave mood, this is a simple but stunningly effective mix that drags Classixx's 80s pastiche "Into the Valley" into the 90s, simply with a funky 3 chord piano motif, and that's all it needs. Euphoric and quite beautiful.



#28
"Fast Challenges"
Chad Valley

The first track we heard off Chad Valley's second EP was definately still chillwave, but it's clear that mastermind Hugo wants to be taken seriously on the dancefloor, and when that beat kicks in at 1.15, and not to mention when the chords hit at 1.32, it's impossible not to be drawn in. The weird beauty of his self-titled EP is still very much alive, but this is by any standards a huge track, and Hugo's voice soars above it. Hell it needs to, the house chords just get bigger and bigger as the track goes on, melodies flying around at all angles. If this is Chad Valley's direction from now on, bring on his full length in 2012.



#27
"Give it All Back"
Noah and the Whale

"Give it All Back" is Charlie Fink's frank and touching account of (we assume) the band's youthful beginnings. Someone described this as a mix of "Summer of '69" and LCD Soundsystem's "All My Friends". This is a freakishly accurate depiction, with it's youthful charm and shamelessly uplifting and anthemic melody, it's the nostalgia anthem of 2012.



#26
"Til Death" (Denzal Park Mix)
Wynter Gordon

The original "Til Death" was a pretty tepid affair, which makes this remix all the more surprising. A stoic verse suddenly breaks into what has to be the biggest pop chorus of the year, complete with lightning strike walls of synth. When Wynter cries "TAKE MY LIFE!" it's as exhilarating on the 100th listen as the first. And I would know, it's at the top of my iTunes most played list.



#25
"The Wilhelm Scream"
James Blake

The only other track on James Blake's self-titled debut that even slightly resembles the sense of commercial melody of Feist cover (cover!) of "Limit to Your Love", "The Wilhelm Scream" was the obvious choice for a second single. However, radio-friendly tactics aside, the track is the nearest thing on the record that shows us a human side to Mr Blake, and there is an air of desperation in his voice as he (comparatively to the rest of the record) cries "I don't know about my love anymore, all I know is I'm falling, might as well fall in". You can tell that his computer can tell that James is close to breaking out of his robotic façade as the track progresses, when the fader is gradually pushed up until ominous cloud-synth chords have swallowed the track, and Blake's voice, whole. An intriguing, and actually quite emotional, listen.



#24
"Give Up The Ghost"
Radiohead

One listen to the introspective and fragile "King of Limbs" and you can feel yourself growing old with Radiohead. On "Give Up The Ghost", a gathering of background Thoms weakly emplore "don't hurt me" on a loop throughout, and his falsetto has rarely sounded more fearful. But there's no sign of angsty, panicky tenor here, ala "Wolf at the Door", this is resigned fear and gentle pleading, and quite honestly, Radiohead has never sounded more beautiful.



#23
"Need You Now"
Cut Copy

On the opener to Cut Copy's fairly epic 3rd record "Zonoscope", singer Dan Whitford begins with a mumble and ends with a desperate cry of "I know we're going crazy, but I need you now". The track does something similar. Opening with the quiet burble of electronics and pads, the track builds and builds and builds upon a hypnotic groove, until a euphoric climax that will dazzle stargazers everywhere. If Cut Copy were once known for providing hook upon hook, its clear they've learnt a better trick. Sometimes a track's payoff can be good enough to warrant a bit of a build up, and what a, WHAT a build up.



#22
"Midnight City"
M83

The first single from M83's "Hurry Up, We're Dreaming" took the 80s movie soundtrack feel from "Saturdays = Youth" to a whole new level. Vangelis pads abound as usual, but this time, the drums pounded out a dance beat Madonna would have favoured and the track features one of the most distinctive vocal hooks of the year, one that won't leave your head for days, nay months. And that saxophone solo at the end is just a stroke of genius.



#21
"Take Me Over"
Cut Copy

On their last record, "In Ghost Colours", cuts like "Hearts on Fire" and "Lights and Music" were indie rave classics that pummelled you with enough gorgeous hooks to last you until their next record, but this time round, the band wants you to LISTEN a bit more, and appreciate the sheer songcraft and love expressed in their music. "Take Me Over" is given the space to breathe and its carefree, wonderful chorus, with all its little vocal adlibs, is virtually sing-song, caressed by a million spiralling synths and a laid back beat that encourages but doesn't force you to dance. Quite simply, it knows it doesn't need to.




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TOMORROW WE ENTER THE TOP 20. Such fun.

TOP 50 OF 2011: #40 - #31

Hello again! More amazing taste.


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#40
"Norgaard"
The Vaccines


The Vaccines' record was by far the simplest, most straight up indie  rock record of the year, and backed by the carefree, catchy teen-angst of the song writing, there was even something of the punk about it. Clocking in at a mere 1 minute 38 seconds, "Norgaard" sums up everything the band are about. It's short, it's sweet, its energy is mind-numbingly infectious and it's a crowd pleaser. Such is the onslaught of teenage hormones in this track that a second longer and the track would not be. Luckily, the Vaccines know what they're doing. And what they're doing is not much; they know they don't need to.



#39
"Reunion"
M83

M83's "Hurry Up, We're Dreaming" was a whole new kind of 80s collosus, a record that wasn't afraid to be epic, it was afraid not to be, and this track (much like all the others to be frank) holds a strong argument for the most dramatic thing on here. On the life-affirmingly bright "Reunion", guitars clang and echo like U2 and the melody hits the Chesney Hawkes rock anthem nerve like a shot of adrenaline to the heart. Sound awful? Maybe it is, but by god I love it.

 M-83 Reunion by ProjectX1 

#38
"The Greatest Light is The Greatest Shade"
The Joy Formidable

TJF's debut, "The Big Roar" lived deliciously up to its grand title, rocking mid-tempo like it was the 90s, but the real treat lies at the end of the record with "The Greatest Light...". Battering ram guitars and a hypnotic hook give this track a truly euphoric stomp that is the perfect way to round off such a satisfying record.



#37
"Stay Away"
Charli XCX

Somewhat out of the blue, like a female Hurts, Charli XCX quietly flew the flag for romantic goth-pop in 2011, almost single handedly with this haunting track. Industrial beats and emotionally wrought vocals recall The Cure, and an eerie melody that nods towards Kate Bush, this girl has a lot to live up to after this debut single.



#36
"Que Que" (feat. Maluca & Diplo)Dillon Francis

One of the most enjoyable dance music EPs of the year, Dillon Francis' Moombahton EP "Westside" was fresh sounding and irresistible, honing down everything addictive about the genre. Female latin rapper Maluca lays down some sharp verses, and Diplo's presence is heard in the piercing synth sirens that ride a bass-heavy Reggaeton beat. Too quirky to make it mainstream, but this is a crying shame, as it's one of the best dance tracks of the year.

Don't do hallucinogens before watching the video by the way.



#35
"Wildfire" (feat. Yukimi Nagano)
SBTRKT

Unusual and understated, "Wildfire" is the classiest dubstep track of the year, in no small favour to Little Dragon singer Yukimi Nagano, who's shimmering, eerie tones provide this track with it's magic. Though this is not to discredit SBTRKT however, for the simple groove and niggling bass line prove to be slyly addictive.



#34
"Last Friday Night"
Katy Perry

Yes, it was released last year on "Teenage Dream" the album, but Last Friday Night really came into its own when it was released as a single, as it was always meant to be. Leaving it as a secret weapon for 2011 turned out to be a great idea, a moderately entertaining extended video only aiding its success, and reminding us why we loved Katy Perry's music in the first place. It's irresponsible-message pop, but Katy Perry's big doe eyes and sugary country-tinged belt make it all seem like good fun. Even when she vomits in a shoe in the video. But "such an epic fail" - still cringey.



#33
"Heaven"
Emeli Sande

Although it's string-laden drama-hop strongly recalls Massive Attack's "Unfinished Sympathy", Emeli Sande's "Heaven" has an emotional urgency rather than a melancholy, in no small part down to Emeli's aching vocal. Emeli is only 24, but she sounds like a woman in conflict with herself, and she feels every word of phrases such as "Will you recognise me? When I'm lying on my back, something's gone inside me, and I can't get it back", and especially as she yelps "then I'm gone" repeatedly at the close of the song. As a singer, Sande has a maturity beyond her years, and especially beyond the expected abilities of a new talent. The melody is pretty beautiful too, which helps.



#32
"Lion's Share"
Wild Beasts

As opener's go, "Lion's Share" is hardly an attention grabber. But then again, none of "Smother" is. That's the beauty of it. Calming down slightly with every record since their debut, their third record opens with their most haunting song to date. It's dark and seductive as ever, a pulsing synth and romantic piano being the only needed backing for Hayden Thorpe's cabaret croon. His voice is delightfully toned down (comparatively), and the sheer beauty of the spiralling melody for "Boy, what you running from?" is all the more for it.



#31
"Call It What You Want"
Foster the People

Foster the People understood the need for party music in 2011, and although "Pumped Up Kicks" is the perfect teen anthem, there's something even more rebellious about "Call It What You Want". "What's your style and who do you listen to? WHO CARES." goes one lyric, quite possibly one of my favourite of the year. Piano led, funky and thoroughly catchy as always, Foster the People aren't 'cool' in the traditional sense (like floppy haired indie boys making dance music are ever cool, Friendly Fires being the exception) but on "CIWYW" they are telling you, very fleetingly mind, that they don't give a fuck, and they just want to dance. And when they make tracks like this, who can blame them?




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TOMORROW, #30-#21, Arrivederci!