I Can't Go For That

Song: I Can't Go For That

Artist: The Bird and the Bee

Album: Interpreting the Masters Volume 1: A Tribute to Daryl Hall & John Oates

Coming pretty quickly after last year's sophomore album "Ray Guns Are Not Just the Future," L.A.-based synth-pop act The Bird and the Bee are releasing what is being considered their third, "Interpreting the Masters Volume 1: A Tribute to Daryl Hall & John Oates" which is, just about how it sounds. Producer Greg Kurstin and vocalist Inara George take their signature loungy sound and apply it to the greatest hits of 80's legends Hall & Oates. Umm... okay.

After a nice, if out of place, original "Heard it on the Radio," (which does reference H & O) they kick off into "I Can't Go For That," which can only be described as.. "cute." On one hand, it almost sounds like they are taking the piss a little, as they seem to relish in the goofy pop bliss of the song, winking at its 80's-ness, but yet restraining themselves from letting it all go into parody territory.

Which reminds me that when it comes to thinking of Hall & Oates, you sort of fall into two categories; you either think of their music as goofy 80's, songs only to be enjoyed in a wink-wink ironic way. Sort of like an 80's Carpenters whom fell out of favor with the pop public and are not, and can not, be truly respected within the history of music. OR, you simply consider the pair two of the best singer-songwriters to come from the era, writing perfect heart-felt pop songs that have stood the test of time and are welcome to modern interpretation. (And I am again reminded of the Carpenters, who's tribute album "If I Were a Carpenter" found some of the 90's best Alternative Rock acts proving that behind the sad, catchy tracks by the pair were just some killer killer songs.)

In terms of Hall & Oates, I fell into the former initially which I attribute to my age, but now feel the former. Their music is dated for sure, but like the Carpenters... these dudes were writing GREAT tunes. Nothing more, nothing less.

Over the course of "Interpreting the Masters Volume 1," I wondered where The Bird and the Bee stand on the subject. At just over thirty minutes long the album doesn't over-stay it's welcome and I certainly enjoyed hearing Inara's vocals over these familiar pop nuggets. "Rich Girl," "Maneater," and "Kiss is On My List" all sparkle with a cute giddiness that they capture with their own original material. And by the end you do realize they have much love for the songs and the guys, and yet... they don't do enough different with them. Enough that you question the whole project in it's entirety.

While enjoyable, I think these covers are best plucked from this breezy album and plugged into a larger playlist, as song after song does render the entire album a little too cute and cloying for pure enjoyment. One at a time, they offer that great "OMG who is doing this song?!?!" that should only be used sparingly.

What do you think? True tribute or parody?

Enjoy.

I Can't Go For That


Private Eyes


Heard it on the Radio

Cooler Couleur

Song: Cooler Couleur (f/Yelle)

Artist: Crookers

Album: Tons of Friends

Crookers are an Italian DJ/Production duo who began working together since 2003. They began doing remixes and production work for a variety of artists and over the past couple years have made a name for themselves remixing artists such as Kid Cudi, Britney, and recently, Lady Gaga. "Tons of Friends" is their debut album which was just released last month.

As the album title suggests, the duo got a crazy roster of guest vocalist and rappers to perform on the album. Including; Soulwax, Kelis, Pitbull, Will.I.Am, Spank Rock, Roisin Murphy, Yelle, Kardinal Ofiishall, Miike Snow, Drop the Lime, Tim Burgess, Major Lazer, Leftside, & Supahype, to actually just name a handful.

Despite the seemingly random mix of people from track to track, it doesn't feel disjointed... more like an intergalactic space trip where one crazy thing after another passes before you. You don't really know where you're going... but you enjoy the trip as it enfolds.

Despite not having a great hook, Kelis' "No Security" is a standout, getting me more excited for her dance album "Flesh Tones" when it comes out later this summer. Roisin Murphey's "Hold Up Your Hand" is pretty wild, working a throbbing beat and almost girl group-ish vocals on top of each other. She also contributes vocals to the upbeat "Royal T." One of my favorites if "Cooler Couleur" with Yelle, with it's almost childish sing-songy french until it slows down to bliss out and back again. It made me wonder if Yelle is working on a second album (which I found no information on.)

There is a lot of hip hop on the album, which I connect less with. But it's got a future hip-hop vibe that still keeps the album interesting.

Enjoy.

Cooler Couleur (f/Yelle)


Remedy (f/Miike Snow)


Put Your Hands on Me (f/Kardinal Ofiishall)

Not Myself Tonight

Song: Not Myself Tonight

Artist: Christina Aguilera

Album: Bionic

Christina Aguilera has spent her entire career in the shadow of Britney Spears. While Christina has spent the last decade attempting to build a strong discography with her brand of adventurous pop and technically impressive vocals, Brit has had double the amount of output, all pretty squarely in the realm of dance pop, and been much more successful and obsessed over. While they both started in teen dance pop, Britney has segued into electro while Christina has played with rock, hip-hop, 20-40's style soul with a "modern" flare, and of course ballads. Many, many ballads.

I give Aguilera credit for trying, but her last album, "Back to Basics," was a double album revolving around one idea that created exactly one good song; "Ain't No Other Man." Admittedly, while not a huge fan, I thought that song was pretty amazing, and got the record. Which was terrible.

So does it come as any surprise that Xtina has now decided to give it a go at electro dance-pop? Not really. She toed the waters a bit on her greatest hits album with the first single "Keeps Getting Better" (which I liked but the world met with a shrug) as well as "re-imagining" electro versions of her biggest hits "Beautiful" and "Genie in a Bottle." Her new album is called "Bionic" and the first single is the hard-charging Polow da Don produced "Not Myself Tonight" which throws a bunch of things at the wall... club beats, Justin style bleeps, the diva vocals, sexual cooing, and a vague "it's a new me y'all" message. It's not bad... but doesn't really distinguish itself from the flurry of electro-pop that's out on the market both in corporate pop and the indie world. And at it's worse... it's a bit Pussycat Dolls.

The jury is still out on the album which is being released in June, but I must say I'm interested in her other collaborators for the project: Sia, Goldfrapp, M.I.A., Ladytron, and Le Tigre to name a few. Interesting. We'll see.

Enjoy.

Not Myself Tonight

Book of the Month

Song: Book of the Month

Artist: Lovage

Album: Music to Make Love to Your Old Lady By

Lovage was a one-off project from producer Dan the Automator, Mike Patton, and Jennifer Charles. It's a tongue-in-cheek "sexy" record, grounded in trip-hop, and to a lesser extent, acid jazz. The beats, by Kid Koala and Automator, are pretty ace but does the joke sustain? Well... I'm actually not totally sure yet.

After an intro, "Pit Stop (Take Me Home)" starts the record and sets the tone. The music again is pretty amazing, but you hear the silliness that just starts. Can ironic sexy still be sexy? I think maybe the entire purpose for the album is to play it (or selected tracks) for friends only to see how long it takes for them to get it.

"Everyone Has a Summer" comes across as a more jazz-laced Avalanches. And "To Catch a Thief" starts out the same until the music really kicks in, and Jennifer begins to sing... suddenly it's a great trip-hop song you didn't know. Maddening really. Further song titles include "Lies and Alibis," "Herbs, Good Hygiene, & Socks," and "Lovage (Love That Lovage, Baby.)" Okay.

And yet... despite my eye roll of a review, I really like this record. "Book of the Month" and "Strangers on a Train," burn with red velvet intensity and could be played without a hint of irony. And when the cover of Berlin's "Sex (I'm a)" begins, and you recognize it, you marvel at how much you vibe with it, despite how unbelievably ridiculous it is. Outrageous.

Yet... it works.

Enjoy.

Book of the Month

Sex (I'm A)

Stranger on a Train

Ultralight

Song: Ultralight

Artist: Parallels

Album: Visionaries

From the pretty reliable Kitsune label, comes Canadian synth-pop band Parallels. The trio formed in 2008, with drummer and producer Cameron Findley coming formally from the band Crystal Castles. Their debut "Visionaries" is a pretty solid 80's inspired song cycle. (a genre that I can't seem to get enough of lately.)

Lead singer Holly Dodson has been compared to Kate Bush or "True Blue" era Madonna, but given the music, I find the whole affair a bit like a more upbeat Sally Shapiro. Lead track "Find the Fire" gives you a good idea what to expect. And second track "Ultralight" has Giorgio Moroder written all over it. Now while the marketplace seems to be super-saturated with 80's inspired hipster indie dance-pop, a lot of it isn't very good. "Visionaries" might not have one single that would rocket them to stardom, but it's consistantly a very good listen.

Enjoy.

Into the Future

Song: Into the Future

Artist: Bunny Lake

Album: The Beautiful Fall

Bunny Lake are an Austrian Electro-pop band that formed in 2004. They have two prior albums that I am not familiar with, but have been recently really digging their third, "The Beautiful Fall" quite a bit. It's mix of 80's New Wave, a bit of 90's style guitar pop, and current electro, the record is filled with bouncy, catchy, ditties that get a bit better with each listen. I love lead singer Suzy on the Rock's semi-deadpan vocals.

"Into the Future" is the first single, which was actually released in late 2008, and supposedly a change in sound for the band. It fits in with the rest of "The Beautiful Fall" so I'm going to have to go back and take a listen to their older stuff. They certainly have some good songwriting chops.

Check this out.

Enjoy.

Into the Future


1994

Crown on the Ground

Song: Crown on the Ground

Artist: Sleigh Bells

Album: Sleigh Bells EP

Sleigh Bells are a Brooklyn-based dance-punk, noise-pop outfit that formed in 2008. The band consists of Derek Miller and Alexis Krauss, whom met while Miller was waiting on Krauss and her mother in a diner. Their debut is expected this year, though a seven track EP was released digitally last year. I've been listening to those tracks for a while, with "Crown on the Ground" being the obvious standout. They were supposed to be the special guest when I saw YACHT, but they didn't show. (Not sure the reason.)

I blast of guitar, deep noisy beats, and schoolyard female rapping, Sleigh Bells can, after a few songs one after another, get a little much. That's coming from the EP, so hopefully they are perfecting their sound for the debut. But that said, they have an energy that can't be denied, and in terms of "Crown on the Ground," well... let's just say, get ready to strut. It's got energy and attitude to spare. I think they could use just a little more focus on melody... but they certainly have something.

Enjoy.

Crown on the Ground


Interview

The Afterlife

Song: The Afterlife

Artist: YACHT

Album: See Mystery Lights

I got to spend part of my weekend with some music heads and subsequently, discovered a bunch of new music.

After many many many beers, we went to this indie-rock dance party where Portland-based dance act YACHT performed. Lead by mastermind Jona Bechtolt, former member of The Badger King and The Blow, and has been using the YACHT name for his solo work and a full group effort since 2003. They have released an E.P. and last years "See Mystery Lights" on D.F.A. Records. (Home to LCD Soundsystem)

"See Mystery Lights" has a bit what you'd expect from an indie-dance-rock record, but also mixes dancy-goth-rock a-la Joy Division, with 90's Euro-dance, and chugging rock-a-billy drag race disco. (not an actually genre, it's just what it sounds like.)

"The Afterlife" was memorable at the show, with it's 60's go-go vibe and slow end-of-the-world repetition. "I'm in Love with a Ripper" gets it's 90's on, "Psychic City (Voodoo City,)" with it's repetitive "Aye-aye-aye-aye's" felt like being caught in a churning tide as the crowd moved and sang along. (It should be noted just HOW into the band, and party, the crowd was. Great energy.) I personally like "Summer Song," which has a long slow build, but seems created for a blissed-out dance floor trance.

Fun record, check it out.

Enjoy

The Afterlife (Live at the Electric Ballroom)


Summer Song


Psychic City (Voodoo City)

Trust Me

Song: Trust Me

Artist: The Streets

Album: Computers & Blues

After being blown away by his excellent second album "A Grand Don't Come For Free" from Mike Skinner of The Streets, I'd been following him and his off-kilter U.K. based hip-hop. Third album was good but not nearly as good as "Grand" and then 2008's "Everything is Borrowed" was pretty devoid of any hooks at all resulting in just shy of forty minutes of his speak-rap, off-kilter music, and... well I didn't even get what the concept of that record was. I possibly didn't give it enough time, but it didn't do a thing to grab me. Oh well.

So 2010 will see the release of "Computers & Blues," what Skinner says will be the last of the Streets albums. After a couple listens, I'm not sure there's a need to argue with him. There was something about "Grand," the working class story strung throughout, the been-there emoting, and the hooks... when the songs weren't catchy, there was a charm that coasted it through. I suppose that made the follow-up, "The Hardest Way To Make an Easy Living" a bit surprising as he donned a new "I'm famous now" persona and it all mostly worked. Now it's hard to see where he's coming from.

"I Love My Phone" opens the album and it chugs along like you'd expect a Streets song to. Again, nothing grabbing. But, it should be noted... it starts and you KNOW it's The Streets, and the distinctiveness reminds you what an original he is. Second track "Trust Me" is excellent. His best song in two albums, and one that made me think 'Oh, THIS is what this album must be.' Mixing old soul with his trademark flow, it sounds familiar and yet wildly new. This one has got to be a single. Alas, the remainder of the album (after about three listens) just returns to the monotonous one tone he all too often rests in, despite the kitchen-sink music loops. None of them grab like "Trust Me," boo.

"Lovelight of My Life" is a slower highlight, and again mixes a bit of old soul feel, and reminds me of what the album could have been again. And thankfully, it's a slower track that isn't just "This albums 'Dry Your Eyes.'"

Am I missing something? Any Streets fans that disagree with his recent direction? Or am I just not getting it?

Enjoy.

Trust Me

Lovelight of My Life

Where My Heart Has Been

Bermuda

Song: Bermuda

Artist: Kisses

Album: The Heart of the Nightlife

Here's another entry in the new school of indie-ish groovy lounge music. Like Shy Child, Digits, and to a lesser degree Junior Boys, Los Angeles based electronic band Kisses use elements from the golden age of futuristic disco with an indie-rock sensibility. It's martini music that's swinging enough to half listen and vibe to, and melancholy enough for repeated, deeper listens.

Love single "Bermuda" and giggle a little hearing the earnestly sung chorus of "Midnight Lover," "I would like to take you out, I would like to take you out... for a nice steak dinner." So L.A.

I've been an absolute sucker for this stuff lately, but there is a LOT of it out there, with only a handful worth mentioning. The recent aforementioned Digits and Shy Child albums were really standouts in the genre and I am adding this Kisses record to the mix. Very very good... if you like that sort of thing. ;)

Enjoy.

Bermuda

My Delirium

Song: My Delirium

Artist: Ladyhawke

Album: Ladyhawke

Here's one that I missed when it came out, Phillipa "Pip" Brown... AKA "Ladyhawke" is a New Zealand electro-pop artist who's self-titled debut came out in 2008. She was in two bands prior to recording her solo debut, Two Lane Blacktop in New Zealand, and then, after a move to Melbourne, a band called Teenager with Empire of the Sun's Nick Littlemore. But it was this solo album that put her on the map, a new wave-ish pop record that sounds a little like Tegan & Sara making a an 80's album. Synth's, guitar, and killer hooks... it's a great record, and one I've really been enjoying quite a bit.

First single "Back of the Van" gives me a little 80's era solo Stevie Nicks... though less organic. I also like the immediate "My Delirium," which is punchy and rocking. It's a great record.... check it out.

Enjoy.

My Delirium


Back of the Van

The High Road

Song: The High Road

Artist: Broken Bells

Album: Broken Bells

Danger Mouse strikes again with a killer collaboration with James Mercer of The Shins. A pseudo-psychedelic folk-ish rock record with light touches of electronica. A semi-ridiculous description that doesn't even really do the record justice... it just happens to have so many elements to it, and yet... doesn't sound disjointed or a genre-hopper... it's really just a batch of killer tunes.

First track and single "The High Road" does a pretty great job at setting up the proceeding, with a light beat, acoustic strumming, and then Mercer's voice riding the melody. Amazing. "Vaporize" sounds very British, a little Charlatans UK, a little Love even, but again... great melody. Other stand-outs include the Strokes meet down-beat Gnarles Barkley "The Ghost Inside," The trippy "Sailing to Nowhere," country-lite sea-shanty "Citizen," and yearning electro-rock of "October."

Been really really digging this record and think we're going to hear a lot about it this year.

Enjoy.

The High Road


Vaporize

Why Don't You Love Me? (Tori Amos & Cyndi Lauper)

Song: Why Don't You Love Me? (Tori Amos & Cyndi Lauper)

Artist: David Byrne & Fatboy Slim

Album: Here Lies Love

Well this has interesting all over it... first we have Fatboy Slim, doing his first album since 2004's "Palookaville" teaming up with music legend David Byrne for a double album. I haven't heard the whole thing, but got a listen to first single "Please Don't" featuring Santogold on vocals, and the groovy-loungy duet "Why Don't You Love Me?"with Tori Amos and Cyndi Lauper... what a pair!

The album is filled with guest vocalists, mostly (aside from Steve Earle & Byrne himself) female, including Martha Wainwright, Natalie Merchant, Alison Moorer, Nellie McKay, and Roisin Murphy... just to name a few. But what's the REAL interesting part in this whole project... well, it's a double concept album about... the life of the former First Lady of the Philippines Imelda Marcos and her relationship with a servant from her childhood. I sort of can't wrap my head around it... but am wildly interested.

You can pre-order the album on Byrne's website, in a variety of versions, which includes an immediate free download of that Santigold track. I'll be very interested in hearing what on earth the rest of this thing sounds like. Oh, you can also check out the title track in the video below. Hot!

Enjoy.

Why Don't You Love Me?

Please Don't


Here Lies Love

I Can Talk

Song: I Can Talk

Artist: Two Door Cinema Club

Album: Tourist History

Here's a new young Irish band signed to Kitsune who are just releasing their new record overseas this week. Mixed by the guy that did Phoenix's "Wolfgang Amadeus Phoenix," it's a short and sweet, punchy and catchy, pop-rock record that employs a bit of electro to round out it's young and brash sound. I hear a little of The Editors, a little Postal Service, and a lot of youthful energy. The songs become a bit same-sounding, but at just over thirty minutes, the album get s in and gets out before over-staying it's welcome.

Stand-outs include the singles "I Can Talk" and the breezy "Something Good Can Work." And I do love the guitar sound in "Undercover Martyn."

When it comes do punchy disco-rick, their no Bloc Party or Franz Ferdinand, but this is a pretty good record, so if that's your bag you should certainly check them out.

Enjoy.

I Can Talk


Undercover Martyn


Something Good Can Work

Starry Eyed

Song: Starry Eyed

Artist: Ellie Goulding

Album: Lights

Currently the toast of the U.K. music scene, Ellie Goulding has been garnering a lot of buzz for her synthpop-ish folktronica, her debut album, "Lights" was released yesterday. A dash of Dido with a little Sally Shapiro, Ellie makes very sweet folk-pop with soaring vocals and subtle electronics. She made an initial splash with the single "Under the Sheets" but got more attention from her second single "Starry Eyed" which went to #4 on the U.K. singles chart. More immediate (and produced) than Sally, and less wet-blanket than Dido, Goulding's music might fill a space from what's needed right about now... nice and catchy, sweet and familiar, I'm not sure if I hear a single that will get America's attention, but hell... it's way better than James bloody Blunt.

Enjoy.

Starry Eyed


Under the Sheets


Guns & Horses

Ambling Alp

Song: Ambling Alp

Artist: Yeasayer

Album: Odd Blood

"Odd Blood" is the second album from Brooklyn-based indie-rock act Yeasayer. The band produced the album themselves, and it's a mix of experimental rock and psychedelic pop... sort of hard to pinpoint... but it's become one of my favorite new records. Apparently, the band has gone a bit more pop than on their debut, which I haven't heard, but "Odd Blood" comes across as a less whipper-snapper MGMT, but I also hear shades of Modest Mouse (when they try for catchy) "Bone Machine" era Tom Waits, a little Radiohead, a little Arcade Fire, and even a little Paul Simon. It's quite an amazing record, and one that gets better with each listen.

It starts on a very experimental, almost industrial "The Children," and then the "pop" kicks in with the reggae-lite world music vibe of the excellent "Ampling Alp." Also excellent is the 80's style ballad "I Remember" and the rhythmic, punchy "O.N.E.," which is the second single. "Mondegreen" sounds like Modest Mouse eating The English Beat. The album is really just chock full of off-beat, wildly interesting tracks... and in some ways sounds like "Amnesiac" done as a pop record.

This one comes HIGHLY recommended.

Enjoy.

Ambling Alp


O.N.E.


Mondegreen

Nice Weather for Ducks

WeCast Music Trivia!

Song: Nice Weather for Ducks

Artist: Lemon Jelly

Album: Lost Horizons

Dear Readers,

It's a special Friday as I have a little contest for you. This week, starting with Neon Neon's "Stainless Style" and ending with today's album... "Lost Horizons" by Lemon Jelly, all the albums I've blogged about have something specific in common. And the first person that comments on this post with the correct answer gets a very special gift from WeCastMusic! Please include your guess, and your e-mail address in the comment. Go!

"Lost Horizons," Lemon Jelly's first album proper can only be described as Jazz-influenced Psychedelic Chill Out. It's an oddly sunny record that soars by on sampled voices, acoustic guitar, piano, and a trippy kitchen-sink approach to music. Many of the songs go on for over seven minutes and sometimes... sometimes... it can get a bit annoying. But, it's such a great mood record, and has so many great blissed out moments, it's very worth checking out. Oh... and a little factoid... it's exactly one hour long.

The best stand-alone track (as this is an album to listen to from start to finish) is the dizzy, silly, "Nice Weather for Ducks," that has a 60's British Psychedelia vibe. Totally bonkers... and totally charming. "Space Walk" and "Experiment No. 6" can get downright claustrophobic, and it all ends with the jazzy, from-a-spy-movie "The Curse of Ka'Zar." It feels like there is some meaning to it all... yet I certainly don't have it. Might be best a mystery.

Lemon Jelly have only released three albums (and their first was just a collection of early EP's) and are currently on hiatus. I'm also a fan of their second album "'64 - '95" which is much more pop oriented, though no less strange.

Enjoy.

Nice Weather for Ducks


Spacewalk


Elements

Velvet Pants

Song: Velvet Pants

Artist: The Propellerheads

Album: Decksandrumsandrockandroll

"Decksandrumsandrockandroll" was the only full length album released by Big Beat duo the Propellerheads back in 1998. Producers Will White and Alex Gifford created a 70 minute James Bondian soundscape of sampled voices, trip-hop, big beats, and big big sound. They first gained notoriety by remixing "Her Majesty's Secret Service' for Bond Composer's album "Shaken and Stirred: The David Arnold James Bond Project" which can also be found on the album. Another standout is "History Repeating" with vocals by Shirley Bassey, which was also included and most likely inspired her "The Remix Album: Diamonds are Forever" from 2000.

Tracks from the album have been used in videogames, the film "The Matrix," and the very FIRST iPod ad. ("Take California.") It's really a great record with a super cool vibe even at twelve years old. I'm a sucker for taking something old and giving it a new spin. I'm not sure why they never were asked to write a NEW Bond theme... oh well. This is an album for the collection.

Enjoy.

Velvet Pants


History Repeating


Take California

Road Rage

Song: Road Rage

Artist: Catatonia

Album: International Velvet

Somehow, when I made the switch from listening to CD to iPod-only, Catatonia, the mid-late 90's Welsh Alternative rock band just didn't make the cut onto the computer. I was into them for a bit, liking their pop-rock sound that reminded me a bit of an English version of Belly or Throwing Muses. They released six albums over the course of their six years together (1995-2001) with their third, "International Velvet," making the biggest splash.

I was a big fan of that record, though nothing dates an album more than deciding to write one of your biggest hits around a popular TV show of the time ("Mulder & Scully.") I was also a fan of the punchy "Road Rage."

The band went on to release three more records with less and less commercial interest. I never followed them beyond "Velvet," but apparently they went more dark and less pop in their later years. Going back to albums that I was into over ten years ago, and beyond, and even those I HADN'T been introduced to makes me think a lot about what stands the test of time, and what should... regardless of how dated they sound, remain important to the history of music for expanding a genre, or really creating a new one. I suppose this thought belongs more to Leftfield from yesterday... but also, good bands like Catatonia that might just slip through the cracks in the bigger picture.

I'm rambling... check out Catatonia, and specifically "International Velvet," good stuff.

Enjoy.

Road rage


Mulder & Scully (live)


Dead from the Waist Down

Open Up

Song: Open Up

Artist: Leftfield

Album: Leftism

It was around the time that The Prodigy released their breakthrough third album "The Fat of the Land" that the American music market was told that techno was the new grunge. The European acceptance of the musical movement, and "rave culture" was the touchstone for this, but it didn't really happen. Grunge had just become another genre in "alternative music" (which had been "moden rock" and now, "indie") and pop and hip-hop continued to be the dominant pop music force. So while "techno" (a term I don't even think is used anymore) never truly blew up, electro and electronica sort of happened bridging the gap between this new dance culture and what had already happened with disco in the 70's and new wave in the 80's. While I was too into the American alternative and not so much into dance at the time, I was missing some progressive dance music and killer "techno" albums that were defining the movement and changing what we know as the dance music album.

One record that made it's mark during this time was 1995's "Leftism" the debut album from Leftfield, a duo comprised of record producers Paul Daley and Neil Barnes. It began a movement toward "intelligent dance music" and "progressive house," but were one of the first to use elements of reggae and dub into house music. The album is a mix of spiritual new-agish world music and house, sort of a more dancy Enigma. Today it sounds a little dated, (like the rave scenes in "Go") but you can tell it's made for a "mind expanding" experience, and no doubt a favorite for ravers and those partial to ecstasy.

Opener "Release the Pressure," which breaks seven minutes, gives you a good idea what you're in store for. A slow, organic build, into hard-driving (yet uncomplicated) beats. The album is a journey, and delves into trip-hop, drum and base, and a variety of sub-genre's over it's nearly 70 minutes. I'm not sure what I would have thought of this, or if I would have gotten into dance music more at the time if I'd heard this at it's time of release. But now at fifteen years old, I see how it could have inspired many new up and coming dance artists, and brought the concept of the "dance album" back into the fold. "Open Up" was the first single and almost seems like a time capsule. If you like it, you'll dig this album.

An important moment in dance music history.

Enjoy.

Open Up


Release the Pressure


Original

Raquel

Song: Raquel

Artist: Neon Neon

Album: Stainless Style

"Stainless Style" is a really interesting record. It's a one-off record from Gruff Rhys, the lead singer of Super Furry Animals, and electronic producer/artist Boom Bip. It's a concept album about the crazy life of John DeLorean, the boozy womanizing founder of the DeLorean Motor Company. The album takes it title as a play off "stainless steel," which the company made a car out of entitled The DeLorean DMC-12. The album is a complete 80's throwback, a synthpop record made from instruments of the time.

I'm not sure what all of that's supposed to add up to, but the record is... amazing. I'm not sure how I missed it back when it was released in 2008, it's one of my new favorites. While it does sound very 80's, I'm reminded of the new Goldfrapp single "Rocket" in that it takes pretty characteristically goofy 80's sounds and adds very "now" production, mixing a bit of the past into something new and exciting.

But beyond all of this could-be-a-disaster conceptualizing... the album is just filled with some killer songs. After a two minute synth intro, you have the one-two punch of "Dream Girls" and "I Told Her On Alderaan" which sound like sublime samples of 80's pop, but not only that... they sound like 80's CLASSICS. Really really good. Next is my favorite, the sexy "Raquel," about DeLorean's 1970's affair with Rachel Welch. A dark, slow beat starts the track, and builds within the first minute, opening up to some almost "Popcorn"-esque bleeps. Once the vocals kick in... you'll be hooked.

Elements of hip-hop also pepper the album, helped by guest Spank Rock, Har Mar Superstar, and Yo Majesty. The result of all these elements is rather modern, and the concept of the record only helps deepen the experience with each listen. I've REALLY been digging this record, and would highly recommend it if you have a penchant for 80's inspired disco-rock. (But then again... who doesn't?)

Enjoy.

Raquel


I Told Her On Alderaan/Trick for Treat


Dream cars

Almost Killed Me

Song: Almost Killed Me

Artist: Skye

Album: Keeping Secrets

"Keeping Secrets" is the second solo album from Morcheeba vocalist Skye Edwards. The album was released late last year. Like her work with Morcheeba, "Keeping Secrets" is a moody downtempo slice of middle-of-the-road trip-hop. She has a beautiful, velvety voice, that tips the proceedings towards pretty versus the semi-creepy vibe of a lot of trip-hop. Only "The Shape I'm In" and "Almost Killed Me" pick up the pace a little, but it remains a very cool, very British, sexy album. I recommend it.

I haven't heard her first album, but it's worth noting that Skye isn't just a vocalist, she wrote every song on "Keeping Secrets" herself. She is also well known for covering the Gorillaz track "Feel Good, Inc." as well as lending her voice to a couple charity singles. I still play Morcheeba's first hit single "Trigger Hippy" often, such a good track.

Enjoy.

I Believe


Almost Killed Me


Feel Good Inc.

Disconnected

Song: Disconnected

Artist: Shy Child

Album: Liquid Love

I've been digging a lot of mid-tempo electro-pop lately, getting a lot of plays out of the Digits debut as well as the new Hot Chip record. So it was a pleasant surprise at the sound, and song-writing quality, of the new Shy Child album "Liquid Love," a band I'd never heard of before. They hail from right here in NYC, and have been writing and releasing records since 2002. "Liquid Love" is their fourth, following 2008's "Noise Won't Stop" which garnered them a bit of attention over in the UK. They've toured with Muse, Bjork, and Hot Chip themselves.

Lead single "Disconnected" is breezy and fun, and I also really dig the first and title track, which samples Fleetwood Mac's "Everywhere" for some moody, get-things-started, assistance. The rest of the album is filled with loungy, groovy, synthpop... some really great stuff. I'm certainly going to go back and check out some of their earlier work as this record is a really nice surprise.

Enjoy.

Disconnected


Drop the Phone


Noise Won't Stop

Shampain

Song: Shampain

Artist: Marina and the Diamonds

Album: The Family Jewels

Wow. Ladies and Gentlemen, please welcome Marina Diamandis, A.K.A., Marina in the Diamonds, an artist that if you didn't know much about now, you will. I was introduces to Marina by my friend Melanie a couple months back and have been enjoying a couple tracks that she'd released on her "The Crown Jewels EP" as well as a few random tracks that had been posted to blogs, including first single "Mowgli's Road," "I Am Not a Robot," and "Obsessions." So I was eager to hear her debut. And it's quite the stunner.

Marina will most likely be compared to Tori Amos and Kate Bush, as she certainly has their bold sense of artist adventure and unique point of view. "The Family Jewels" turns out to be a very enjoyable musical platter ranging from upbeat piano-based ditties to shimmering electro-pop and et her voice, and approach remain very distinct from track to track. It's all just so... Marina. I think she may be a real artist to watch.

In the age of leaked music, it's very important to let the right tunes out at the right time. And Marina got us all hooked with those three killer songs on the EP, and instead of those three good songs and a bunch of filler... there is just a bunch of killer. ;) "Are you Satisfied?" is a great opener, and then things really pick up with the dancy, catchy, "Shampain," which I loved right away. "I Am Not a Robot" comes after with a smile, like a new friend. She wisely bookcases the okay "Girls" with "Robot" and "Mowgli's" and follows it with "Obsessions," which somehow sounds better on the album than it did on the EP. (It wasn't a favorite at the time, but I'm really digging it now.) Next is second single "Hollywood," another new favorite... and I was already to declare the album a new favorite.

Six more tracks of gloriously off-kilter pop wrap up "The Family Jewels" and solidify Diamandis as an artist to watch and the album as one of the best female singer-songwriter debuts to come along in quite some time. If you've heard a little but of Marina and liked her, you will be nothing but blown away by the entire album. Highly recommended.

Enjoy.

Hollywood

Mowgli's Road

Obsessions

Memories(w/Kid Cudi)

Song: Memories (w/Kid Cudi)
Artist: David Guetta
Album: One Love

I'm on the fence about David Guetta. I've found most of his music to be a little annoying, and what I always equate to straight-forward gay club music. Of course that's only because I'm in the States... where club-ready dance music is pretty much saved for the gay clubs, and doesn't cross over to pop radio like it does in Europe. But with "One Love," Guetta has worked with just about every big and popular vocalist, and created the most American radio-friendly dance-pop concoction. (No doubt this album was played OUT at the "house music" lovin' Jersey Shore this past Summer. First pump!)

Of course Guetta will best be known here as the producer of the Black Eyed Pea's ubiquitous hit "I Gotta Feeling," a song I actually quite liked for a while but got a little tired of it when it was EVERYWHERE. That song is also located on "One Love" by way of the "FMIF Remix," which adds the, I'm sorry, cheesy club beats. I have been swayed by Guetta as of recently due to the Calvin Harris remix of the Estelle-voiced title track, which was big room filling epic. Not usually my thing... but I really liked it. (The album version is not as exciting.) But I've REALLY been loving the Guetta produced "Acapella" by Kelis which I blogged about a couple weeks ago... a great club-electro track that doesn't verge into those "cheesy" beats. Amazingly... that's the best song NOT on this record.

But I did give the album a listen after hearing recent single "Memories" featuring the amazing Kid Cudi. I have really jumped on the Cudi train, love his flow and voice, and it really works on "Memories" which manages to not be cheesy at all. It's a standout on the album. I also like future single "Gettin' Over," which features the vocals of Chris Willis on the album, but is getting the superstar makeover when released as a single, with B.E.P.'s Will.i.am and Fergie re-recording the vocals. It opens just like "I Gotta Feeling" anyhow, so maybe it'll sound like a sequel.

So while "One Love" turned out to mostly be what I expected... it does have it's moments. And regardless... it made Guetta a dance-music superstar whom we will no doubt hear much more of in the future. I just wonder why poor Calvin Harris didn't have any cross-over hits with his much much better (in my opinion) album "Ready for the Weekend." Oh well.

Enjoy.

Memories


Gettin' Over


One Love

Hammond Song

Song: Hammond Song

Artist: The Roches

Album: The Roches

The Roches are a female trio of folk-singing sisters that formed in the 70's from New York City (by way of Park Ridge, NJ.) They released their classic self-titled debut in 1979 and have continued to release albums and tour to this day, most recently with 2007's "Moonswept." I'd heard of these girls before but only recently got their debut. And what an odd little record it is. produced by Robert Fripp, who was looking for "the perfect sound" and got it with the harmonies these sisters were capable of. He employed "audio verite" approach to recording the girls and the results are pretty remarkable. Most of the record has very little "music" to it, only a very simplistic acoustic guitar usually in the background. Their voices are brought to the front (and the side, and the back, and you name it) and the combo of the three (Maggie's alto, Terre's soprano, and Suzzy's in-between range) is actually pretty mind-blowing. With the right headphones, the music seems to actually come ALIVE. It's rather wild.

The album opens with the goofy get-to-know-us track "We." Another large aspect of the girls charm is their laid-back humor, which can be found in their lyrics, and aparently their stage presence. Track two, "Mr. Hammond" is a real mind blower... employing both acoustic and electric guitar (again minimally) it reminds me a little of Radiohead's "High & Dry" musically, but it's those voices... they merge together in a way that they become one, or two, again... I can only describe it as alive. Amazing. The rest of the album is more upbeat and folky and has a charm that is hard to resist.

Certainly not for everyone's taste, but if you like folk, this is a touchstone album. I could only find live clips on YouTube, but it's REALLY important to hear some of their recorded work. Amazing.

Enjoy.

Hammond Song (live)

Hallelujah Chorus (live)

Christmas Caroling (performing songs from their popular hoiday album "We Three Kings"

Paid in Full

Song: Paid in Full

Artist: Eric B. & Rakim

Album: Paid in Full

Arguably the best rap album of all time, but certainly vastly influencial, "Paid in Full" is the debut album by New York based hip-hop duo Eric B. & Rakim. Employing a much more laid back vibe and approach to rapping than what was popular at the time, the album was recorded in just a week, with some songs written in less than an hour. It's influence both with sampling, and the use of jazz is still heard today in much "concious" hip-hop. The loops can be simplistic, but married to Rakim's famous flow, the sound is addictive, raw, and exciting. It's often considered an "accidental masterpiece."

The album produced five singles, "Eric B. Is President," I Ain't No Joke," "I Know You Got Soul," "Move the Crowd," and my favorite, "Paid in Full." The duo went on to produce three more records before breaking up.

Enjoy.

Paid in Full


I Know You Got Soul

We Are Having a Hootenanny

Song: We Are Having a Hootenanny

Artist: The Magnetic Fields

Album: Realism

It' hard to escape the charms of the Magnetic Fields' epic, twee, humorous, and charming "69 Love Songs," from 1999. Twenty-three tracks each on three discs, it was an achievement in quantity, but also quality, anything-goes, D.I.Y. songwriting and recording. I know nothing of the Fields' output before that album, but as you can imagine... that album was a LOT to sort through, and while the rewards were great... where does one go after releasing something so epic? Well, you continue the concepts... and post "Love Songs" the Fields tackled their "no-synth trilogy" which started with 2004's "i," continued with 2008's "Distortion," and ends with this year's "Realism."

I really loved "i," whose concept, at the time, seemed to only be that every song title started with the letter "i," and did not realize that the record did not have any synths or electronics on it. "Distortion" on the other hand... was unlistenable. Noise as a genre has never been enjoyable to me, and that's what it added up to. "Realism" on the other hand is lead Stephin Merritt's "folk album" as he describes it, and while it is a folk album from start to finish... the Fields' trademark charm and left-of-center pop melodies have been restored post "Distortion." It's all kinds of cute but yet... I can't help but miss the anything-goes free-wheeling of "69 Love Songs." Maybe I should let it go.

Apparently an all-synth record is on the way, so we will see what the future holds for the Magnetic Fields. I will certainly be listening.

Enjoy.

You Must Be Out of Your Mind

Everything is One Big Christmas Tree

Walk a Lonely Road

Baby Can't Stop

Song: Baby Can't Stop

Artist: Lindstrom & Christabelle

Album: Real Life is No Cool

Here's an odd little slice of 80's nostalgia (-ish) from Norwegian producer Hans-Peter Lindstrom and singer Christabelle. The pair began working together in 2001 and "Real Life is No Cool" is a collection of singles they have put out since then. The record is dreamy at times, and yet the 80's style disco-funk can break that dreaminess... not unlike the 80's feel of Goldfrapp's new single "Rocket," you pause in how DATED it all sounds... and yet, ultimately you don't feel like you're stepping backward at all. Kind of hard to explain.

All of this is best showcased at the album mid-way point with "Baby Can't Stop," where you hear a little Prince, a little "Beverly Hills Cop," and a LOT of 80's horns. It's straight out of that Eddie Murphy/Bette Midler (via her fire-red hair chubby "Ruthless People"/"Outrageous Fortune" phase) buddy comedy that never happened. Outrageous indeed.

While the record jumps around from Moroder-esque disco ("Let's Practice") to even early 90's piano laced house ("So Much Fun") it's Christabelle's quasi-mysterious vocals that hold it all together. It's an odd record... one that once it's over you question it's very existence, and yet you no doubt have been on a very odd, very strange trip. Check it out.

Oddly, someone has put "True Blood" clips with a bunch of tracks from the record on YouTube. YOu can see them below.

Enjoy.

Baby Can't Stop

Let's Practice

Lovesick

Sarah

Song: Sarah

Artist: Digits

Album: Hold it Close

Digits are a Toronto-based indie-dance project by Alt Altman. His self-described "introspective dance music" is a dreamy blend of quiet beats, low-energy vocals, and wistful lyricism. I was immediately reminded of fellow Canadian's Junior Boys, though a little less sexy. Actually, Digits are probably best described as a male version of Sally Shapiro, who I love. It's not in your face dance/electronic... more singer-songwriter.

I like opener "Saturation" as well as the pretty, throbbing, "Sarah." "You're Going to Age" is probably the hardest hitting on the album, and a bit more immediate than the rest of the album, which settles for a mood over attention grabbing hooks and beats. Overall, it's al album that gets under your skin... great for late nights.

You can read more about Digits and but the album at their official website. Three songs from the album are available for free download there, or can read up and listen to more at their MySpace Page.

Enjoy.

You're Going to Age

Burning

Song: Burning

Artist: The Whitest Boy Alive

Album: Dreams

As it seems like a Monday I'd rather EASE into... I wanted to highlight The Whitest Boy Alive, who's debut album "Dreams" I've really been enjoying. The band is based in Berlin, the latest from Erland Oye of Kings of Convenience fame. The band started as a more electronic music project but has morphed into a more band oriented effort. I haven't heard their new album, "Rules" which came out last year yet, but have been really enjoying "Dreams" which is a dreamy mid-tempo affair.

I first came across the band when I heard the Fred Falke remix of the last song on the album "Golden Cage." It's a great remix, and while it did set me up thinking that the album would be more upbeat than it is, I still really like it. Erland's voice is really soothing and nice, and sets the tone for the album. Very good.

Terrible band name though. Eh?

Enjoy.

Burning

Golden Cage


Golden Cage (Fred Falke Remix)