Such fun! More great music.
40 "What's My Name?" - Rihanna feat. Drake
Rihanna's pop music is so effortlessly sun flecked and so obviously influenced by dancehall that it thaws even the coldest winter day. The stop start beat, relaxed vocal hook and gentle synth chords ooze sex, and Drake's sleazy cameo makes the whole thing feel a little bit guiltier. Rihanna has a hint of the Rude Boy dominatrix about her here, taunting "I wanna see if you can go long time widda girl like me", but she's not got the insecurities of the Rated R lass; The Rihanna of "What's My Name?" only feels effortless confidence. And if there was ever a song that would require hypnosis to get out of your head, it would be this one.
39 "Infinity Guitars" - Sleigh Bells
So much crazy shit to choose from from Sleigh Bells' donkey punch of a debut, but there's something about "Infinity Guitars" that stands out from the others. Whilst tracks like "Kids" and "Run The Heart" are driven by monster robot Hip Hop beats, "Infinity Guitars" lives up to its name, the shotgun toting central riff exploding halfway through the song into a firestorm of distortion in which singer Alexis deliriously jumps all over. It's one of the album's most disarming and memorable sections, and on a bonkers album like Treats, that's something worth applauding.
38 "White Sky" - Vampire Weekend
"White Sky" makes this list on its wordless chorus hook alone, quite simply. No one does unadulterated joy quite like Vampire Weekend, and this gem off brilliant second record Contra is bursting with it. And I don't know if I'm crazy or not, but it sounds like the best Christmas song ever. Maybe it's the ethereal synths and angelic vocals, or just that the whole thing feels like a generous gift to your ears. The happiest song of the year; a real grin inducer, whatever the fuck the song's actually about. Enjoy this video also:
37 "Zorbing" - Stornoway
Another lovely, lovely song from a lovely, lovely band. Oxford's Stornoway are an awkwardly endearing bunch of chaps, and their geeky lyrical allusions (Zorbing compares an unknown extreme sport to falling in love... great chat up line) only make them more charming. But it's the folky picking and barbershop quartet vocals that really provide the charm; and when those trumpets jump eagerly in, you've fallen in love yourself. And yes, it does actually feel a bit like rolling down a steep hill in a transparent plastic ball! (Do your research with Stornoway songs, it's ultimately more rewarding)
36 "One Touch" - Mini Viva
Whilst the rather more famous Xenomania girl group, Girls Aloud, twist the production team’s spacey Eurodance to their quirky, aloof means, Mini Viva make it sound seductive and sexy. It’s no new ground, but Xenomania, led by mastermind Brian Higgins, are at the top of their game, providing a shamelessly 1990s, pulsating Hi NRG tapestry. Mini Viva themselves taunt and tease, with phrases such as “Kiss, kiss, it’s contagious” summing up neatly what makes this track great, and arguably their best single so far.
35 "Any Which Way" - Scissor Sisters
One glance at the cover of Night Work, and you know you're in for a rocky ride. Those buttocks may be clenched tight, but Scissor Sisters are gonna fuck you (oh, excuse me... "funk" you that is) any which way they can. But whatever your apprehensions are, seriously, let them. It's a hell of a lot of fun. "Any Which Way" is camp even by Scissor Sisters standards, and as D-I-S-C-O as they can get away with. Each hook is a guilty pleasure, each clavichord flurry an embarrassing dance move, each snare the sound of a whip on leather. "In front of my parents, I don't give a damn baby, just take me..." Damn. Sex has not sounded this much fun in years. And these guys are gagging for it.
34 "Your Love" - Nicki Minaj
Totally out of the blue this came. The woman known for ranting at breakneck pace, finding absurd rhymes that other rappers wouldn't think of in a million years, well, whaddya know, she's got a soft side? Debut "Pink Friday" showcases a lot of other R&B jams, but the somehow romantic "Your Love" is head and shoulders above them all. That Annie Lennox hook provides the schmooz and although Nicki can't avoid a few quirky Minajisms, see Bruce Willis tribute, she's genuinely subdued and humble here. Who'da thunk?
33 "Cheers (Drink to That)" - Rihanna
"Put it all on my card tonight, Might be mad in the morning but you know we're going hard tonight"
I seriously doubt that Rihanna has to worry about putting anything on her card these days, but her understanding of the poor person's 9-5 mentality is sound. "Cheers to the freakin' weekend, I'll drink to that" she slurs as even the beat stumbles drunkenly on. But everyone is okkkkaaaaay, don't worry, everything's just peachy. It's this laid back attitude that worked on "What's My Name?", but it works even better here, all campfire strummed guitars and drunken mob backing vocals, and even a karaoke section. Genius. And I feel the need to mention the Avril Lavigne sample so here I go: THAT Avril Lavigne sample. Thanks.
32 "Out of Tune" - Real Estate
And now for something completely different. On Real Estate's single "Out of Tune" the spirit of the Beach Boys hovers above, but never quite reaches ground, and so Real Estate's wonderful guitar tones are left floating in space; dreamy and exotic, but also rather lonely. There's a sense of resigned defeat about "Out of Tune", as if each strum of the guitar and murmur about weeping clowns is a brave smile that covers a deep sadness. As the track fades out, despite the sweeping melancholy, you can't help but feel you'd rather be here than wherever Real Estate wanted to go.
31 "Crossover" - Magnetic Man feat. Katy B
Katy B's solo debut "Katy On A Mission" showed her as tough, in control and manipulative, and so her warmth and welcoming on "Crossover" is hard to believe, and thus her silky tones have an air of foreboding about them. She tempts and teases without saying what she really means, offering to "put your every wrong to right", and all this talk of crossing over certainly suggests something of the dark side to me. But of course, none of this great performance would be half as good if it weren't for the eerie clamouring of MagMan's learing grin of a dubby backing track. Synths fly around like fireflies and the bass is subtle but threatening. It's only half a story told, but the track tells more by what it doesn't say.
OK, onwards with Boxing Day my chums! 30-21 tomorrah!
Sunday, 26 December 2010
Top 5 Remixes of 2010.
Before I carry on, I realised that certain remixes that appeared on my "master list" didn't (spoiler haha) make my top 40, but because the art of the remix was very refined this year I feel the need to pay 'homage' to my favourite remixes that I boycotted from the list.
4 "Dancing on My Own" (Fred Falke Remix) - Robyn
Making a sad song sadder and more wistful with some mournful chords, Fred Falke's take on Robyn's crowning glory doesn't much up the dance stakes, in fact toning down the brutal pulsating bass of the original and replacing it with glowing chords and a late 90s house sensibility that indeed feels like dancing on your own. If the original is desperate and emotional, this mix is one sung from the aftermath; this Robyn is resigned to loneliness, and there's no Fred Falke version of Hang With Me or Indestructible, so it seems that this is where it ends. How mean of you Fred, really.
3 "Heads Will Roll" (A Trak Remix) - Yeah Yeah Yeahs
Something of a 2010 club classic, this is probably the most popular indie remix of the year, partially thanks to Annie Mac's fondness for it (she included it on her "Presents 2010" mix CD). And absolutely deservedly. Addictive beyond belief, Even Karen O is a slave to the demonic steel drum chords and commandeering funky house bass, chopping heads off left, right and centre on the dancefloor. Dangerous stuff.
2 "Starry Eyed" (Russ Chimes Remix) - Ellie Goulding
Whoa, where did THIS come from? The original "Starry Eyed" was fun, but a little bit diddly diddly to really live up to its subject matter (being high on life or drugs or whatever). However, when the Russ Chimes remix finally kicks in properly after a long 3 minute build, not going mad is simply NOT an option. Goulding's voice is cut up and haemorrhaged all over the track, as dirty throbbing bass and massive beats collide. But that piano, OH that piano. That's when you know shit's going down. The whole track is perfectly structured and a true clubber's delight; CRAZY. Though not quite as crazy as my number one...
1 "Get Outta My Way" (BeatauCue Remix) - Kylie Minogue
This is less a remix, more a cut and paste exercise. BeatauCue rip apart samples of this feel good anthem and tear scratches into the original record, so what we are left with it something that has to be heard to be believed. Kylie is essentially everywhere, screaming in your ear in distress as a colossal beat pummels her into submission and beyond. THE intense funky house experience of the year without a doubt.
5 "Spanish Sahara" (Chad Valley Remix) - Foals
From a cold and difficult 7 minute slog (I wasn't a fan) to something that resembles Spandau Ballet on hallucinogenics, Chad Valley created something rather beautiful as per usual. Singer Yannis sounds weepy and self-pitying on the original, but here, his double tracked voice is shimmering and dreamy. "Total Life Forever" indeed.4 "Dancing on My Own" (Fred Falke Remix) - Robyn
Making a sad song sadder and more wistful with some mournful chords, Fred Falke's take on Robyn's crowning glory doesn't much up the dance stakes, in fact toning down the brutal pulsating bass of the original and replacing it with glowing chords and a late 90s house sensibility that indeed feels like dancing on your own. If the original is desperate and emotional, this mix is one sung from the aftermath; this Robyn is resigned to loneliness, and there's no Fred Falke version of Hang With Me or Indestructible, so it seems that this is where it ends. How mean of you Fred, really.
3 "Heads Will Roll" (A Trak Remix) - Yeah Yeah Yeahs
Something of a 2010 club classic, this is probably the most popular indie remix of the year, partially thanks to Annie Mac's fondness for it (she included it on her "Presents 2010" mix CD). And absolutely deservedly. Addictive beyond belief, Even Karen O is a slave to the demonic steel drum chords and commandeering funky house bass, chopping heads off left, right and centre on the dancefloor. Dangerous stuff.
2 "Starry Eyed" (Russ Chimes Remix) - Ellie Goulding
Whoa, where did THIS come from? The original "Starry Eyed" was fun, but a little bit diddly diddly to really live up to its subject matter (being high on life or drugs or whatever). However, when the Russ Chimes remix finally kicks in properly after a long 3 minute build, not going mad is simply NOT an option. Goulding's voice is cut up and haemorrhaged all over the track, as dirty throbbing bass and massive beats collide. But that piano, OH that piano. That's when you know shit's going down. The whole track is perfectly structured and a true clubber's delight; CRAZY. Though not quite as crazy as my number one...
1 "Get Outta My Way" (BeatauCue Remix) - Kylie Minogue
This is less a remix, more a cut and paste exercise. BeatauCue rip apart samples of this feel good anthem and tear scratches into the original record, so what we are left with it something that has to be heard to be believed. Kylie is essentially everywhere, screaming in your ear in distress as a colossal beat pummels her into submission and beyond. THE intense funky house experience of the year without a doubt.
Saturday, 25 December 2010
TOP 50 SONGS OF 2010 Pt. 1: 50-41
Merry Christmas! With Take That, Rumer and Ministry of Sound's Disco Anthems on the playlist (all presents for my mother I might add, but I complain about none, although my Nicki Minaj CD remains untouched, I feel I owe that much to my mum to not expose her to the contents), I feel the need to round up the year in music with my joyfully geeky top 50 of the year. And a bit of pointless blabber about music in general.
Through endless indie acts being heralded as "genius" and "" by 'credible' sources (some actually were, see Arcade Fire), to a plethora of summer haze dreampop that I rather enjoyed floating around blogs, to more acts crossing the fine line now present between urban and electronic dance music, this year hasn't been half bad for music IMO. It's been about 40/60. Which I'll take.
The girls did well this year. Kylie released the gay album of the decade, Kelis broke away from stereotypes and made a straight up brilliant house record, Katy Perry had great bubblegum pop singles, despite a disappointing album, and Nicki Minaj tried her damndest to live up to the hype and ALMOST did it, although that album cover exceeds expectations by a long shot, good on her.
Rihanna was great as ever, but ROBYN is the pop success of the year as far as I'm concerned. 3 mini albums followed by a mini greatest hits of the year, and not ONE filler track. Standing ovation.
The X Factor certainly has hit an all time low though. The show is brilliant, like a soap opera for those pretending to know about music, but the results have been appauling this year. I'm not talking about fluffy voiced Matt Cardle winning, I'm talking about the ACTUAL results... the albums that have been spurned from the show.
JLS's second album was just, just horrific, Cheryl Cole's voice now resembles a drunken ferret stumbling all over some actually not too bad tracks on her new album. I'd love to hear "Yeah Yeah" or "Amnesia" given to a decent singer, but I guess I never will. Last years top two, Joe McElderly and Olly Meh (I'm clever am I not?), both showed how little they have to offer musically with dull, insipid records with zilch personality or flair. And can I just say, "Ambitions"... a great song when performed by the band that it belongs to, Donkeyboy. Check these out.
Ah, the spirit of Bronski Beat. I have a desire to go and listen to "Smalltown Boy" right now.
Anyway, I could talk about the ingenuity and reinvention of indie with the Foals and Arcade Fire albums, and how great Janelle Monae is, and how Nicki Minaj has totally reinvented female identity within Hip Hop, but frankly I don't think it'd be any good. Read NME or something.
I just want to get on with talking about songs I like now thanks. 10 a day for next 5 days, then top 20 albums over the last two days of the year. That'll work out neatly I think. Yes.
50 "Whip My Hair" - Willow Smith
So wrong and yet so right. Who'd've thought a 9 year old girl could bring the most swagger to Hip Hop in 2010? (The absurdity of this statement is duly noted and ignored)
49 "Cold War" - Janelle Monae
"So you wanna be free? Well, below the ground's the only way to be"
Euphoric, intense yet poignant, sometimes uncomfortably so. A driving funk gallop gives beef behind Monae's desperate and emotional performance of this conspiracy anthem of the heart.
48 "My Boots" - Lights
"When I'm in the summer I forget how much I love her when she's in the groove."
Not a lesbian anthem. Supporting the similarly sugary synthpop act Owl City in the spring, Lights is a little Canadian ray of sunshine. Happy little ditties about video games and higher powers were in abundance on her sweet as pie debut, but this one off ode to winter is amoungst her most charming. Tinkly synths fall like snowflakes outside and gentle guitars crackle and pop like embers in the fireplace. Lovely.
47 "Katy on a Mission" - Katy B
The dubstep invasion of the charts reached its peak with this instant club classic. When Katy B talks of "erupt(ing) into the room" you can feel it through your speakers. Despite this, the track maintains a leisurely pace and thus an effortless class. When Katy taunts "so I sip his drink as I hold his gaze", you know she's in control.
46 "Let the Sun Shine" - Labrinth
The definition of R&B and Hip Hop was stretched to breaking point this year, with house beats and trance chords working their way into any commercial urban track you'd care to mention, and this life-affirming number by producer Labrinth is a prime example, practically a synthpop anthem. Nevertheless, the infectious warmth and happiness of this track makes genres seem irrelevant. So what if the lyrics are somewhat nonsensical? When Labrinth breaks into the ear-to-ear beam of a chorus, you somehow understand the joy in every word.
45 "Roman's Revenge" - Nicki Minaj feat. Eminem
"Yeah I said it... HAS-BEEN"
A bit risky of Nicki to drop this line in a track featuring the once great Eminem, but the faux-pas is easily overlooked amoungst the sheer volcanic eruption of the threatening, the unhinged and the outright bizarre that is Nicki's outstanding performance on this highlight from "Pink Friday". Eminem's performance is slightly cringy but, all things considered, not too bad. Though I suppose if Nicki can make a track featuring Will.I.Am credible, anything is possible.
44 "Indestructible" - Robyn
"I'm gonna love you like I've never been hurt before"
After the meltdown of "Dancing on My Own" and the healing in "Hang With Me", "Indestructible" comes as a triumphant overcommance of fear and hurt and declares that its ready to love again. The dramatic neo-classical backing and tidal wave synth chords second the sentiment admirably. Although probably the weakest of the three tracks, its placing at #43 is a decent hint at how incredible Robyn's output has been in 2010. More to come, needless to say.
(P.S. I LOVE this video)
43 "Suicide Dream 2" - How to Dress Well
Truly the best musical representation of any kind of dream in living memory. Vocals come and go indistinctly as a darkly ethereal pad crackles and distorts its beauty. The words are mere shapes, distant callings, not meant to be understood literally, but emotionally. The whole track is a vague, structureless poem that repeats itself indefinately, expands and takes the listener on a journey. Don't expect to understand the dream in question, but expect the music to hint as the fear and isolation hidden beneath the musical fog. Maybe it's best not to look much closer.
42 "Lions!" - Lights
"You don't have to feel safe to feel unafraid"
An uplifting message however you read it. Yet this is more than some feel good anthem: this is a self admitted ode to World of Warcraft. Which makes me love it all the more. As itsy bitsy as ever, timid beats and twinkle-twinkle-little-star vocals, but Lights has the remarkable ability to create a big noise for a little woman. Her head in the clouds and her music made in her bedroom, but this is music made for stadiums. Stadiums filled with computer geeks? Perhaps. But Lights makes it ok to be a geek, and most certainly ok to sing about computer games.
41 "Slow" - Rumer
"My love, my love, my love... killin' time is easy when you're here"
This breakthrough song for hazy voiced Rumer is one of the only truly, unashamadly romantic songs of the year. The song doesn't have a pace, it floats in mid air, each instrumental note hanging on Rumer's next breathless word, a woman who wants to give in to love when others tell her to be cautious and "slow this right down". The effect is captivating, heart wrenching and an exciting introduction to one of the years most talented new singers.
Wicked, DA DUN DONE. 40-31 tomorrow! Now I think champagne. I'm a little behind in the Christmas stakes.
Through endless indie acts being heralded as "genius" and "" by 'credible' sources (some actually were, see Arcade Fire), to a plethora of summer haze dreampop that I rather enjoyed floating around blogs, to more acts crossing the fine line now present between urban and electronic dance music, this year hasn't been half bad for music IMO. It's been about 40/60. Which I'll take.
The girls did well this year. Kylie released the gay album of the decade, Kelis broke away from stereotypes and made a straight up brilliant house record, Katy Perry had great bubblegum pop singles, despite a disappointing album, and Nicki Minaj tried her damndest to live up to the hype and ALMOST did it, although that album cover exceeds expectations by a long shot, good on her.
Rihanna was great as ever, but ROBYN is the pop success of the year as far as I'm concerned. 3 mini albums followed by a mini greatest hits of the year, and not ONE filler track. Standing ovation.
The X Factor certainly has hit an all time low though. The show is brilliant, like a soap opera for those pretending to know about music, but the results have been appauling this year. I'm not talking about fluffy voiced Matt Cardle winning, I'm talking about the ACTUAL results... the albums that have been spurned from the show.
JLS's second album was just, just horrific, Cheryl Cole's voice now resembles a drunken ferret stumbling all over some actually not too bad tracks on her new album. I'd love to hear "Yeah Yeah" or "Amnesia" given to a decent singer, but I guess I never will. Last years top two, Joe McElderly and Olly Meh (I'm clever am I not?), both showed how little they have to offer musically with dull, insipid records with zilch personality or flair. And can I just say, "Ambitions"... a great song when performed by the band that it belongs to, Donkeyboy. Check these out.
Ah, the spirit of Bronski Beat. I have a desire to go and listen to "Smalltown Boy" right now.
Anyway, I could talk about the ingenuity and reinvention of indie with the Foals and Arcade Fire albums, and how great Janelle Monae is, and how Nicki Minaj has totally reinvented female identity within Hip Hop, but frankly I don't think it'd be any good. Read NME or something.
I just want to get on with talking about songs I like now thanks. 10 a day for next 5 days, then top 20 albums over the last two days of the year. That'll work out neatly I think. Yes.
50 "Whip My Hair" - Willow Smith
So wrong and yet so right. Who'd've thought a 9 year old girl could bring the most swagger to Hip Hop in 2010? (The absurdity of this statement is duly noted and ignored)
49 "Cold War" - Janelle Monae
"So you wanna be free? Well, below the ground's the only way to be"
Euphoric, intense yet poignant, sometimes uncomfortably so. A driving funk gallop gives beef behind Monae's desperate and emotional performance of this conspiracy anthem of the heart.
48 "My Boots" - Lights
"When I'm in the summer I forget how much I love her when she's in the groove."
Not a lesbian anthem. Supporting the similarly sugary synthpop act Owl City in the spring, Lights is a little Canadian ray of sunshine. Happy little ditties about video games and higher powers were in abundance on her sweet as pie debut, but this one off ode to winter is amoungst her most charming. Tinkly synths fall like snowflakes outside and gentle guitars crackle and pop like embers in the fireplace. Lovely.
47 "Katy on a Mission" - Katy B
The dubstep invasion of the charts reached its peak with this instant club classic. When Katy B talks of "erupt(ing) into the room" you can feel it through your speakers. Despite this, the track maintains a leisurely pace and thus an effortless class. When Katy taunts "so I sip his drink as I hold his gaze", you know she's in control.
46 "Let the Sun Shine" - Labrinth
The definition of R&B and Hip Hop was stretched to breaking point this year, with house beats and trance chords working their way into any commercial urban track you'd care to mention, and this life-affirming number by producer Labrinth is a prime example, practically a synthpop anthem. Nevertheless, the infectious warmth and happiness of this track makes genres seem irrelevant. So what if the lyrics are somewhat nonsensical? When Labrinth breaks into the ear-to-ear beam of a chorus, you somehow understand the joy in every word.
45 "Roman's Revenge" - Nicki Minaj feat. Eminem
"Yeah I said it... HAS-BEEN"
A bit risky of Nicki to drop this line in a track featuring the once great Eminem, but the faux-pas is easily overlooked amoungst the sheer volcanic eruption of the threatening, the unhinged and the outright bizarre that is Nicki's outstanding performance on this highlight from "Pink Friday". Eminem's performance is slightly cringy but, all things considered, not too bad. Though I suppose if Nicki can make a track featuring Will.I.Am credible, anything is possible.
44 "Indestructible" - Robyn
"I'm gonna love you like I've never been hurt before"
After the meltdown of "Dancing on My Own" and the healing in "Hang With Me", "Indestructible" comes as a triumphant overcommance of fear and hurt and declares that its ready to love again. The dramatic neo-classical backing and tidal wave synth chords second the sentiment admirably. Although probably the weakest of the three tracks, its placing at #43 is a decent hint at how incredible Robyn's output has been in 2010. More to come, needless to say.
(P.S. I LOVE this video)
43 "Suicide Dream 2" - How to Dress Well
Truly the best musical representation of any kind of dream in living memory. Vocals come and go indistinctly as a darkly ethereal pad crackles and distorts its beauty. The words are mere shapes, distant callings, not meant to be understood literally, but emotionally. The whole track is a vague, structureless poem that repeats itself indefinately, expands and takes the listener on a journey. Don't expect to understand the dream in question, but expect the music to hint as the fear and isolation hidden beneath the musical fog. Maybe it's best not to look much closer.
42 "Lions!" - Lights
"You don't have to feel safe to feel unafraid"
An uplifting message however you read it. Yet this is more than some feel good anthem: this is a self admitted ode to World of Warcraft. Which makes me love it all the more. As itsy bitsy as ever, timid beats and twinkle-twinkle-little-star vocals, but Lights has the remarkable ability to create a big noise for a little woman. Her head in the clouds and her music made in her bedroom, but this is music made for stadiums. Stadiums filled with computer geeks? Perhaps. But Lights makes it ok to be a geek, and most certainly ok to sing about computer games.
41 "Slow" - Rumer
"My love, my love, my love... killin' time is easy when you're here"
This breakthrough song for hazy voiced Rumer is one of the only truly, unashamadly romantic songs of the year. The song doesn't have a pace, it floats in mid air, each instrumental note hanging on Rumer's next breathless word, a woman who wants to give in to love when others tell her to be cautious and "slow this right down". The effect is captivating, heart wrenching and an exciting introduction to one of the years most talented new singers.
Wicked, DA DUN DONE. 40-31 tomorrow! Now I think champagne. I'm a little behind in the Christmas stakes.
Wednesday, 17 November 2010
Popdar #10: Robyn strikes three times in the same spot.
Isn't she great? Watch this.
Robyn is one girl who definitely doesn't need to get herself together, but the saga of sparkling synthpop anthems that is the "Body Talk" trilogy is awe-inspiring enough to encourage even the downest of the down to get themselves together, and surely that's the point. Body Talk. Talking with your limbs; dancing essentially. Despite comparisons, Robyn isn't like Madonna. She doesn't try to change the world through political stands and self assured controversial statements that she is ill informed to make; she does what she knows.
Let's go back to June. New Robyn album: track 1. We are greeted by the opening pulse of "Don't Fucking Tell Me What to Do" and its defeated refrain of "My drinking is killing me" from the dark, difficult but addictive "Body Talk Pt. 1". Although we didn't know it then, Robyn had already started to heal us. She empathised with us here, and on the tragic masterpiece that is "Dancing on My Own", and she comforted us with a simple four to the floor.
Next stop, "Pt. 2". With the melodramatic "In My Eyes" and stuttering "Include Me Out", Robyn took us out of the four to the floor comfort zone and preached individuality amoungst urgent stop start beats. She told us quite simply "it's gonna be OK". Then she provided further proof with the magical "Hang With Me", the warmest, most comforting track to hit the dancefloor this year.
And now she says she's "Indestructible", but to be honest, that's been proved already. If "Body Talk Pt. 3" is just as good as the genius of Parts 1 and 2, then she'll have proved herself not only as indestructible, but also irreplaceable.
Robyn is one girl who definitely doesn't need to get herself together, but the saga of sparkling synthpop anthems that is the "Body Talk" trilogy is awe-inspiring enough to encourage even the downest of the down to get themselves together, and surely that's the point. Body Talk. Talking with your limbs; dancing essentially. Despite comparisons, Robyn isn't like Madonna. She doesn't try to change the world through political stands and self assured controversial statements that she is ill informed to make; she does what she knows.
Let's go back to June. New Robyn album: track 1. We are greeted by the opening pulse of "Don't Fucking Tell Me What to Do" and its defeated refrain of "My drinking is killing me" from the dark, difficult but addictive "Body Talk Pt. 1". Although we didn't know it then, Robyn had already started to heal us. She empathised with us here, and on the tragic masterpiece that is "Dancing on My Own", and she comforted us with a simple four to the floor.
Next stop, "Pt. 2". With the melodramatic "In My Eyes" and stuttering "Include Me Out", Robyn took us out of the four to the floor comfort zone and preached individuality amoungst urgent stop start beats. She told us quite simply "it's gonna be OK". Then she provided further proof with the magical "Hang With Me", the warmest, most comforting track to hit the dancefloor this year.
And now she says she's "Indestructible", but to be honest, that's been proved already. If "Body Talk Pt. 3" is just as good as the genius of Parts 1 and 2, then she'll have proved herself not only as indestructible, but also irreplaceable.
Saturday, 13 November 2010
Popdar #9: Mopp.
Just when you think the summer of dreamwave was done, it's best track appears 3 months late. Typical. But just close your eyes. It's still 35 degrees out, and not a cloud in the sky. Those opening blisschords warmly shine over the vague but strangely life-affirming repeated phrase "I had a dream about you". Indeed it is the soundtrack to the many dreams of summer that this especially hard season will undoubtedly bring. Love it now.
Sunday, 31 October 2010
Popdar #8: LIGHTS never stop shining.
Canadian lovely LIGHTS, real name Valerie Anne Poxleitner (sometimes a stage name is undeniably necessary), has only made a whisper over on these shores, supporting arguably inferior worldwide success Owl City (even I'm beginning to lose interest these days, I admit), but once you are ensnared by one of her irresistible butterfly-wing ditties, it's for the long term.
Debut record "The Listening" was a delight of happy-go-lucky geek-synth-love-pop that shone as brightly as LIGHTS' alias suggests. She sang about World of Warcraft and teenage crushes and celebrated all that was young and uncool. New single "My Boots" knocks up the dance quotient a coupla notches, with nonsensical lyrics that could either be about a lesbian crush, an ode to footwear or maybe another computer game song. Brilliant. Another album please?
Wednesday, 27 October 2010
Popdar #7: Uffie brings my beat back.
When you're laptop breaks and is sent away to be repaired, it's quite sad how much of your life is unrepairable until it returns. Without my iTunes I have been a mere shadow of a man. So I have a lot of catching up to do, and TWO months worth of listing to catch up on.
One step at a time, so I'll kick off with my new favourite video. Uffie's debut album, finally released in May, turned out to be a rather limp affair, less fierce Robyn attitude and more "whip my hair back and forth" with less whipping and more, um, hair (obligatory pop culture reference out of the way). BUT. New single "Difficult", released this Monday just gone, has the same casual shit-talking twee urban feel (if ever such a thing were possible) of Uffie's quirky masterpiece "Pop the Glock", with the kind of line that Robyn throws off the cuff as its hook, namely "don't worry if I write rhymes, I write checks".
But what sets Uffie apart from the Swedish synthpop superstar (alliteration!) is quite simply her Frenchness. Whilst Robyn is sexy in a Madonna/Dita/Erotica/Scare-you-to-death kind of way, Uffie is just sexy in an Amelie-innocence kind of way, and the track couldn't be more French if it tried. Lolloping Justice beats and a squelch-funk bass that sharpens up Uffie's lazy flow and speak-singing in a way that turns a potentially simmering track into a bubbling one. Not overflowing mind, just bubbling, but that's the way Uffie likes it.
And I'm no film critic, but that video is so blissfully avant-garde it deserves an Oscar.
One step at a time, so I'll kick off with my new favourite video. Uffie's debut album, finally released in May, turned out to be a rather limp affair, less fierce Robyn attitude and more "whip my hair back and forth" with less whipping and more, um, hair (obligatory pop culture reference out of the way). BUT. New single "Difficult", released this Monday just gone, has the same casual shit-talking twee urban feel (if ever such a thing were possible) of Uffie's quirky masterpiece "Pop the Glock", with the kind of line that Robyn throws off the cuff as its hook, namely "don't worry if I write rhymes, I write checks".
But what sets Uffie apart from the Swedish synthpop superstar (alliteration!) is quite simply her Frenchness. Whilst Robyn is sexy in a Madonna/Dita/Erotica/Scare-you-to-death kind of way, Uffie is just sexy in an Amelie-innocence kind of way, and the track couldn't be more French if it tried. Lolloping Justice beats and a squelch-funk bass that sharpens up Uffie's lazy flow and speak-singing in a way that turns a potentially simmering track into a bubbling one. Not overflowing mind, just bubbling, but that's the way Uffie likes it.
And I'm no film critic, but that video is so blissfully avant-garde it deserves an Oscar.
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