Ultimate House Classics.

Live & Direct:

Danny Rampling ’88-’08: Two Decades Of Club Classics

The sixth instalment of CR2’s highly successful series Live & Direct features legendary house music DJ Danny Rampling, and two dozen or so of his favourite club cuts from the past twenty years. Is it good? Yes. Owing to Rampling’s rise to fame during the early years of house in the late 80’s, there is a rich and colourful selection on this compilation is nothing short of masterfully selected and lovingly mixed.

A bit of a backgrounder: Rampling, one of the most famous DJs on the British house scene since its beginnings, shot to fame after a trip to Ibiza in 1987 that saw him return to London to create several seminal club nights in the capital that helped push the Balearic sound to the mainstream. When it exploded in the clubs (with a little help via the rise of MDMA consumption), Rampling was well-positioned as the movement’s de facto leader, which was only compounded when he joined BBC Radio One as host and producer of the Lovegroove Dance Party, one of the most successful BBC radio shows of all time. The man’s credentials are second to none and he more than delivers on Danny Rampling ’88-’08: Two Decades Of Club Classics.

Stretching way back right off the bat, Rampling treats the listener to a host of surprises including Sterling Void’s early house classic “It’s Alright” (which was faithfully covered by the Pet Shop Boys in 1988) and Sabrina Johnston’s legendary house cut “Peace In The Valley” which has never sounded fresher. Always eclectic, true to his nature, Rampling goes right into Latin club classic “La Diosa Misteriosa.” I’ve never really been big fan of Latin club cuts, but by including the track, Rampling is giving a nod to the Latin community, whose massive influence on various aspects of house music is undeniable. The Latin sound peaked in the late 1990’s, but it never went away. In that sense, Live And Direct comes across as more of a musical history map, without ever once coming off as boring or self-indulgent.

Further in, Rampling delves into the Euro side of things, by his inclusion of Freemasons “Pacific,” and a brilliant re-work of USURA’s classic spacey house cut “Open Your Mind” which I’d forgotten how much I love. Blaze’s “If You Should Need A Friend” is another welcome addition to the compilation; a very soulful slice of classic Chicago-style house music. Danny Rampling Club Classics is hands down one of the best house comps I have ever heard and is highly recommended.

DOWNLOAD THESE! All cuts available on amazon, iTunes and Beatport.

“Peace [Midnight Express Classic Gold Mix]” by Sabrina Johnston

“For What You Dream Of [Full On Renaissance Mix]” by Bedrock

“Open Your Mind 2007” by USURA

“Pacific [Original Mix]” by Freemasons

“I Wanna Give You Devotion [Original Mix] by Nomad

“Can You Take Me Away [feat Ann Bailey] by Damian Wilson

“It’s Alright [Original Mix]” by Sterling Void

Dance Floor Ready.

Yes it's true. The new Depeche Mode disc Sounds Of The Universe isn't club friendly - but that doesn't mean that they've abandoned their club potential. Check out this remix of new track "Ghost." Great song, killer bass line.. I am really surprised that this track was relegated to bonus material. If you're a fan of Depeche and a fan of club beats, start clicking:

Download "Ghost (Le Weekend Remix)" High Quality - Stereo/ 320kbps

"Ghost" is available in its original version on the Sounds Of The Universe bonus disc.

Analogue Soul.

Over their nearly 30-year-career beginning in 1980 in a post-war new town outside London, Depeche Mode has endured to become one of the most revered and influential acts in modern popular music. They influenced everything from house music to Nine Inch Nails; adopting electronic gear early on set the group apart from the pack, and they were soon selling out stadiums chiefly due to the brilliance of their combined talents; the songwriting genius of Martin Gore, the production wizardry of Alan Wilder, frontman extraordinaire Dave Gahan and the… ahem… accounting/managerial skills of nonmusical member Andrew Fletcher. That Erasure's Vince Clarke was the founding member now seems an odd footnote in the annals of rock history.

Their sound has varied with time, all the while remaining firmly nested in an electronic cocoon, bouncing from synthpop to dance, ambient to rock, techno-soul to glam. On 2005’s Playing the Angel, the band revisited its rock side, fronted by the chart-friendly single “Precious,” one of the group’s strongest melodies in years. Never content to sound the same, the new disc Sounds of the Universe (their twelfth studio album, their second with Producer Ben Hillier, and their first for EMI since dumping Warner), does a 180-degree turn that is simultaneously bluesy, futuristic and retro, not to mention Depeche Mode’s most uncommercial album since 1986’s Black Celebration. This is both good or bad, depending on your point of view.

Opening with the slow burning “In Chains” which clocks in at almost seven minutes, it’s obvious Depeche Mode have absolutely no desire to revisit the world of radio-friendly pop — been there, done that. If anything proves it, it’s Universe's first single “Wrong” which is a slice of synthetic doom, brilliantly coupled with a harrowing video directed by Patrick Daughters of Feist video (If you haven’t seen it yet, hit Youtube.. now!). “Fragile Tension,” a good contender for future single, is notable for its old-school synth sounds; they've not sounded this analogue since 1982. Given that their writing is much more sophisticated than it was in 1982, it’s an interesting approach. Often accused of being too gloomy, on the mid-tempo techno-spiritual hymn “Peace,” Gahan sings, “Just look at me/ I am walking love incarnate/ Look at the frequencies of which I vibrate/ I’m going to light up the world,” Depeche Mode have never sounded more uplifting. “Come Back” blends industrial grit with some of the most beautiful harmonies Gahan and Gore have ever done.

While there’s a bit of filler on here (“Spacewalker,” “Jezebel”), the only fault being that some songs (“Little Soul”) never quite seem to take flight, which seems mainly due to the focus of mood over melody. The song “Perfect” almost is perfect; and “In Sympathy” is one of the most well-crafted songs the band has ever released. Interestingly, the deluxe boxed version of Sounds Of The Universe, released simultaneously, is an innovative way of getting around the download problem. The deluxe version contains a plethora of additional tracks, remixes, demos, hardcover books and DVD content, postcards and buttons, which makes it fairly tempting even to the average fan and yields the download version as a mere footnote. It will be interesting to see how many other bands decide to go this route.

I hate Anton Corbijn's album cover and I still miss Alan Wilder in the group, but Sounds of the Universe is a mature album containing beautiful highs and few lows; it takes repeated listens to sink in, but when it does, it’s more than worth it. I cannot think of any other progressive music group (no, U2 don't count) that has been releasing quality music for the past three decades. They're King, and they've earned it.

A Happy Melody.

Röyksopp, the Norwegian duo Torbjørn Brundtland and Svein Berge, just keeps getting better. The 2001 debut Melody AM was a simultaneously moody and poppy ambient affair. Tracks like “Poor Leno” and “Remind Me” suggested the pop possibilities within the context of ambient, while tracks like “Sparks” and “So Easy,” the latter of which I first discovered on the chillout compilation A Night in with Boy George (great disc, though the title now sounds like more of a punchline), suggested the Röyksopp sound was a 21st-century extension of Brian Eno soundtracks for the club set. Melody AM was a revelation at the time, for anyone who was listening. The follow-up, 2005’s The Understanding, was an altogether different affair, somehow caught between wanting to be two things at once, ambient and synthpop. It straddled two visions of Röyksopp but, being Röyksopp, it was still good. Pushing toward a pop sound was mildly evident on Melody AM but it was fully obvious by the time of The Understanding, which is a grab bag of sonic treats, including the synthpoppy “Only this Moment,” the soulful “49 Percent” and probably one of my favourite tracks of all time, the grooving, Moog-driven “Someone Like You.” Brundtland and Berge even started commissioning some quality, well-crafted remixes to stir up the dancefloor and get the attention of DJs who understood what they were trying to do with sound. Fast-forward to 2009. It’s been a long four-year wait, but Röyksopp has delivered the goods yet again in the form of new disc Junior — essentially Röyksopp on pop steroids. It’s wonderful. Opening track and first single “Happy Up Here” is a transcendent, playful track about, well, being happy; it begins with a sample of laughter. Who wouldn’t like that? It packs such an amazing punch in its 2:44-length, you won’t want it to end. Always collaborative, Röyksopp has called in fellow Scandinavians like pop comeback queen Robyn for “The Girl and the Robot,” indie rocker Lykke Li on “Miss It So Much,” Karin Dreijer of The Knife and longtime vocals collaborator Anneli Drecker. The vocal variety gives Junior a distinct sense of change from one track to the next; consistent yet never dull. The forthcoming second single, “The Girl and the Robot” pulls some serious disco punch while “Röyksopp Forever” takes the idea of strings in pop music to an entirely new standard. More than anything, Junior sounds alive. Röyksopp fans have more to look forward to with the release of Senior later this year, which is expected to be a platform for the duo’s more ambient side. Alive, catchy and completely indulgent, Junior will be regarded as one of 2009’s best releases.

ESSENTIAL RÖYKSOPP

“Poor Leno” from Melody AM “
Remind Me” (Someone Else’s Radio Remix) from Remind Me EP
“Someone Like You” from The Understanding
“The Girl and the Robot” from Junior
“Alpha Male” from Röyksopp’s Night Out
“Happy Up Here” from Junior
“Beautiful Day without You” from The Understanding
“Miss It So Much” from Junior

Pet Shop Boys Etc.

PET SHOP BOYS
Yes
Parlophone/ EMI

To the casual pop fan, Pet Shop Boys might seem more than a little strange. Neil Tennant and Chris Lowe occupy their own little corner of the music universe in which it’s normal for pop groups to write a musical or a ballet, cover the Village People, work with vocal legends like Liza Minnelli and Dusty Springfield, score obscure Russian films and perform it live, for free, with a full orchestra in Trafalgar Square… It goes on; releasing coffee table books of your singularly immaculate album and single artwork, re-working the standard CD case from ugly plastic tile to a tactile objet d’art. Those who “get” the Pet Shop Boys know they have done these things with class and style so seemingly natural it’s perverse, one would think they planned every last, tiny little detail of their cool factor. Completely underrated, it seems the world is waking up to the duo’s unmatched pop legacy, as they were recipients of this years’ Brit 2009 Outstanding Contribution to Music Award. And deservedly so.

2009 finds Pet Shop Boys in the mood for disco pop, which may seem somehow required following the heavy nature of 2006’s Fundamental which addressed various themes surrounding politics, government and post-9/11 obsessions, all sleekly wrapped up in ominous black packaging; an visual clue to the dark contents within. PSB are so graphically brilliant, courtesy of longtime designer Mark Farrow, that one can almost surmise the disposition of material based on the package design. On new disc Yes, it’s a cheeky, confident, affirmative checkmark.

Disco? Check. Addictive pop melodies? Check. Wit? Check. Irony? Yep. It’s all here on Yes, their most cohesive album since 1993’s epic masterpiece Very. They’re excused for wandering off course; their successes in film scoring, musicals and concept albums, have left more casual fans wondering exactly where they went. The answer is nowhere, and it’s evident by track two on Yes, as the Boys embrace handclaps, slick beats & Peter Ilyich Tchaikovsky on the pulsing “All Over The World,” you can’t help but recall their genius once more: “It’s sincere and subjective / Superficial and true / Easy and predictable/ Exciting and new../ To say I want you” What could be more deliciously Pet Shop Boys than a pop song about pop?

Production crew Xenomania are a perfect fit for Tennant/Lowe, who knew exactly where to turn when their brand of intelligent dance pop needed a re-do for 2009. It’s worked out beautifully, running the gamut from the 60’s sounding “Beautiful People” to the optimistic, upbeat “More Than A Dream” and the melancholic “The Way It Used To Be,” which is, without a doubt, one of the best songs they have ever recorded. Screw the digital age; Yes is almost sequenced like a vinyl record, Side One being straightforward pop, Side Two progressively edging into an experimental climax on closing track “Legacy” in which Tennant proclaims “That Carphone Warehouse boy/ has been on the phone/ He wants to upgrade/ the mobile you own.” Their effectiveness at capturing mundane slices of life in the.. ahem... modern age and translating that into musical transcendence, married with cutting edge technology and superb arrangements make Yes a pure joy from start to finish. They are so utterly unto themselves; in a class of their own, making thinking man’s pop music, that in a world full of Pussycat Dolls, they are literally too sophisticated for most North American ears. Yes.

Yes is available now in Canada on iTunes and retail / Available April 21 in the United States on Astralwerks.

Right.

Depeche Mode are back! "Wrong" is their 46th UK single and serves as the introduction to their 12th studio album, Sounds Of The Universe, which will be released April 21, 2009. "Wrong" is definitely hard-hitting; it's perhaps the most challenging single they have ever released. I didn't like it the first few times that I listened to it. It's unconventional, even for Depeche Mode. It doesn't really have a chorus, it's menacing, creepy and not ready-made for the dance floor, but now I think that's the point. The video for "Wrong" is equally startling. A harrowing three-minute clip of a guy "in the wrong place, at the wrong time" has been made by Patrick Daughters and features Julian Gross of The Liars as the "masked man."

A Strange Journey.

Erasure
Total Pop! The First 40 Hits

Andy Bell and Vince Clarke, the electropop duo better known as Erasure, have just released their new singles compilation, Total Pop! The First 40 Hits. It’s all a bit tongue in cheek really, as if a volume of another forty hits is likely. The past decade has seen Erasure seemingly taking a long, winding road to retirement with some definite strange turns. Their golden age lasted from the late 80’s to the mid-90’s and it’s been an odd career trajectory since; the Loveboat album (which was more like Titanic, career-wise), an ill-advised covers album titled Other People’s Songs, and Union Street, their very odd hardcore fans-only album of country and western versions. To be sure, these releases have not added up to critical acclaim. Erasure’s music has not necessarily become bad per se; it just seems to stand still in time with no noticeable forward progression. Claims of being creatively stagnant are not far off the mark, with their last challenging, interesting release being 1995’s self-tiitled ambient project produced by Thomas Fehlmann of The Orb. Andy Bell’s recent solo outing Electric Blue was a fantastic effort, which perhaps only served to highlight the musical prison that Erasure has become.

It’s just as well. Erasure have always been a singles band anyway, and compilations are where they shine. Pop! The First 20 Hits was the first in this pop compilation series, which saw the light of day in 1992; it summed up their heyday quite nicely. Total Pop: The First 40 Hits is essentially the original 20 hits, remastered and repackaged with a companion disc of a further 20 hits. I use the term ‘hits’ loosely; their first disc contains their real, bona fide megahits such as the ubiquitous “A Little Respect,” anthem “Chains Of Love” and the sonic perfection of “Chorus” and “Love To Hate You.” The “hits” on the second disc are more a sad collection of flop singles, save for one of their biggest hits and best ever moments, the hauntingly beautiful “Always.” But despite them being flops, it’s Erasure, and they can still write a damn fine pop tune when they set their minds to it. Listen to “Fingers And Thumbs” or “Sunday Girl” for proof. They just don’t get noticed much.

It may not be their fault though. Much like that other pop duo Pet Shop Boys, the world seem to have lost interest in the synthesizer duo. It’s a shame, because the synth duo have proven to be one of pop’s most successful arrangements. It’s purely a generational thing though; synth duos are just so 80’s, aren’t they? Wisely, Erasure have simultaneously released a rather good dance mini-album called Pop! Remixed which contains some brilliant and contemporary versions of their biggest hits, including “A Little Respect,” remixed by Avantara, “Always” mixed by Manhattan Clique, and “Drama” mixed by JC & Andy Bell. If you’ve never before invested in an Erasure compilation, Total Pop won’t let you down; It’s worth its weight in pop gold, a hook-filled package that will have you tapping your toe and singing along for days.

Essential Erasure Discs:

The Innocents (1988) / Chorus (1991) / Erasure (1995) / Nightbird (2005)

To Be Avoided:

Wild! (1989) / Cowboy (1997) / Other People’s Songs (2003) / Union Street (2006)

Lennox Compiled.

Since emerging in the early-80’s from The Tourists with musical partner Dave Stewart to become the legendary duo Eurythmics, Scottish singer Annie Lennox has blazed many creative paths, won hearts the world over and challenged her listeners. Lennox is talent personified; her voice can lift, it can sadden, it can inspire. She has written or co-written some of the most defining songs in the history of popular music. A quick look through the Eurythmics/ Lennox catalogue is a roller coaster of emotion as music, done through the lens of white soul, a powerful body of work, a lesson in the how-to’s of putting substance in pop. That she began her career playing the part of androgynous manwoman, translucent skin, shocking orange hair to her transformation into the greatest white soul singer alive, for Lennox, artistic re-invention is something that has come about organically, not for commercial gains.

Plagued by delays, Lennox’s first compilation of solo work The Annie Lennox Collection has finally seen the light of day. Bringing together material from her albums Diva, Medusa, Bare and Songs Of Mass Destruction, sprinkled with a few rarer cuts worthy of inclusion, Collection takes a non-chronological look at Lennox’s most popular recordings. Unsurprisingly, 1992’s Diva is the most-represented Lennox album on the compilation; from the heartache of breakout solo single “Why” to the sophisticated adult-contemporary hit “Walking On Broken Glass” to the dance-pop of “Little Bird,” Diva gets its fair share of allocated tracks, and rightly so; it remains her best record. 1995’s Medusa covers album was a little more challenging; the tracks from it are less immediate, from “No More I Love You’s” to the cover of Procol Harum’s 1967 classic “A Whiter Shade Of Pale.”

By the time of 2003’s Bare, the hits had seemingly dried up, as evidenced on Collection, by inclusion of only two of its tracks, “A Thousand Beautiful Things” and “Pavement Cracks” both of which are great songs, punctuated by a sweet yet hopeful sadness and melancholic drama that came to be the hallmark of Lennox’s later material. “Love Song For A Vampire,” one of the best-ever Lennox tracks, is wisely included. As Lennox sings “Let me be the only one / to keep you from the cold” and synthesizer power chords wash over the listener, it’s impossible not to get chills. That’s the power of Annie Lennox. Her performances are so astonishingly heartfelt, and for that reason I believe her to be the true voice of our generation, though she is oft-overlooked in favour of more prolific performers.

More than anything else, The Annie Lennox Collection serves as a beginner’s manual of Lennox’s post-Eurythmics work for someone who’s perhaps not very familiar; it’s a primer. Luckily, there’s a Deluxe Edition, which adds what the proper version skipped; her brilliant covers of Cole Porter’s “Ev’ry Time We Say Goodbye,” Joni Mitchell’s “Ladies Of The Canyon” and the Oscar-winning “Into The West” from Lord Of The Rings. Perhaps because Annie Lennox (and Eurythmics) records stand so well on their own, a hits compilation such as this seems strangely cobbled together. You might be better off making your own Lennox playlist; or better yet, discover the full albums. They’re all rewarding listening experiences, but this is a good place to get started.

A Resounding 'Yes'

PET SHOP BOYS TRACK-BY-TRACK

I recently had the privilege of hearing Yes, the new Pet Shop Boys album due for release in North America on March 24, 2009. Here are my thoughts on what I think is their best, most cohesive album since 1993's Very.

Love, etc. - The opening track and first single from Yes is not what I expected. Utterly unlike anything the Pet Shop Boys have done before, it's a swinging call-and-response song, a statement on glammed up, fake, big-titted Beverly Hills reality-TV culture that, as we all know, has become sadly pre-emininent. It's no 4/4 time disco stomper, but holds its charms nonetheless. "Love, etc" is not what I would have chosen as the first single, but still good. When have they ever chosen the right single to kick off an album, though? 6/10

All Over The World - Here we go, this is what I was waiting for. Reportedly the second single from Yes, "All Over The World" is glorious pop symphony blending a Tchaikovsky sample, handclaps, a rousing boys 'n girls chorus and a Royksopp-esque beat. I can't wait for the remixes. Neil sings "This is a song / for the boys and girls / You hear it played all over the world.." It's a pop homage to pop itself. Pet Shop Perfection. 9/10

Beautiful People - A surprise, vaguely reminiscent of the Pet Shop Boys sixties pastiche b-side "I Didn't Get Where I Am Today," this track is a sunny foray into melodic guitar pop that could have easily fitted onto Release. "I wanna live like beautiful people," Neil sings. Funny, I always thought he was one of them, but then again, I am sensing a strong message of irony here, which they do so well, really. The track even has harmonica bits. In the Pets' world, that must certainly be musical irony, right? 7.5/10

Did You See Me Coming? - This is where the Xenomania production influence finally kicks in for me. It's pure pop. "You don't have to be in who's who/ to know what's what," sings Neil, another apparent reference to plastic celebrity culture which seemingly permeates Yes. "Did You See Me Coming?" is classic Pet Shop pop that could fit on any given album. This song is where the purists will finally be satisfied. 8/10

Vulnerable - One of Yes's few filler tracks, "Vulnerable" sounds like a b-side to me. Not to say it's bad..it's just kind of average. Then again, an average PSB track would be a good one for most groups. I don't think the Pets are capable of 'bad' music (except for maybe "The Sound Of The Atom Splitting") but of all eleven tracks on this disc, I'd say this is the least memorable. 4/10

More Than A Dream - Kicking off with a classic synth line, "Dream" kicks into a solid pop-dance structure which is rich with thick bass, and a slight utopian, yearning quality in its lyrics "I believe that we can change / we can make it more than a dream..." It smacks of either "Go West" or Obama's 'Yes We Can!' slogan. Lyrically, it's a forward looking dream, but whereas "Go West" possessed a tragic quality of false hope, "More Than A Dream" is ultimately positive. 7/10

Building A Wall - A strange track. Thematically, it falls upon the lines of Fundamental's "Integral," a post-9/11 commentary about CCTV surveillance in security-crazed Britain, and probably the only overtly political moment on Yes. Chris Lowe is present on vocal duty with Neil, which comes to a vaguely funny head with his proclamation" Who do you think you are? Captain Britain?" which may even be a clever historical reference to Neil's origins as an editor at Marvel Comics. It's catchy, but lyrics which mention Caesar, Roman walls and conquering Gaul, it's not likely to connect with most listeners. Unless they have a degree in European History, of course. 7/10

King Of Rome - A lush, romantic track which could easily be from the Behaviour days, "King Of Rome" is a welcome, yet unexpected soft moment in the generally pop universe of Yes. The instrumentation is gorgeous, Neil's vocals have rarely sounded so lush, airy and dreamy. 8/10

Pandemonium - This is pure electropop, and a welcome shift in tone from the heaviness of the previous two tracks. Neil described this track as being "about your partner causing mayhem whenever they turn up but being quite loveable nonetheless." Lyric: "I thought I was shockproof until I saw what you get up to / when you think about it it's quite an achievement that after all I still love you". Pure electropop disco fun, featuring harmonica (!) by Johnny Marr, ex of The Smiths. 9.5/10

The Way It Used To Be - The ultimate song for when love has left the building; it's a softer-in-tone variation on Release's crushing end-of-love anthem "Love Is A Catastrophe," which is of course, something everyone can relate to. "What is left of love? Tell me who will even care?" 7/10

Legacy - Various blogs I've read have slagged off this song as an odd addendum; I actually see it as a message-filled reference to their own illustrious career; If one were to surmise this is the last Pet Shop Boys track on the last Pet Shop Boys album, it wouldn't be a stretch. "That's it," sings Neil, "the end / but you'll get over it / my friend." Clocking in at over six minutes, it simultaneously hits comedic, dramatic and tragic notes, like their pop history itself. The orchestral arrangements are nothing short of incredible. It truly is an odd song; At 4:12, Neil veers off into français for no obvious reason: "Tous les artistes dans le monde...." before switching back to English with a witty line about telemarketers: "That Carphone Warehouse boy / has been on the phone / He wants to upgrade the mobile you own." 8/10

I sincerely hope this isn't the last we hear from Pet Shop Boys. Since 1985, they have written some of the best pop music ever made, while at the same time not being afraid to blur the lines; their musical adventurousness is uncommon; listen to the Italo-disco sounds of "Paninaro," the faux-rap of "West End Girls," the hi-NRG disco of "Go West" and "Left To My Own Devices" or their radical covers of classic U2 or West Side Story's "Somewhere." Their collaborations with other artists, not least among them David Bowie, Dusty Springfield, Liza Minnelli, Tina Turner and even Rammstein make them unparalleled musical pioneers. What's truly unfortunate is how perfectly invisible they have become in North America, save for pockets of fandom in the gay community. With the rise of so-called 'urban' music in the past decade, I'd go so far as to say that Pet Shop Boys are the sound of urban sophistication. Get Yes. It is their best album in years and will not disppoint.

Note: Yes will also be released as a 2CD set, featuring bonus disc Yes, etc. which contains dub versions of what's on the main album. The tracklist for that is:

1 This used to be the future (feat. Phil Oakey of The Human League)
2. More than a dream (Magical dub)
3. Pandemonium (The stars and the sun dub)
4. The way it used to be (Left of love dub)
5. All over the world (This is a dub)
6. Vulnerable (Public eye dub)
7. Love etc. (Beautiful dub)

Lucid Dreams.

Franz Ferdinand has always been a strong act, combining a garage pop sensibility, chunky riffs and slick tunes. They pulled off two excellent discs, 2004’s self titled debut, and 2005’s follow-up You Could Have It So Much Better. Good as they are, they’re smart enough to know that a directional shift would be required, or else it would be a quick route to the garage band dumpster of music history.

With their contemporaries Cut Copy and now The Killers “going the dance route,” [the former have always had dance leanings; the latter’s new disc Day & Age was produced by electro/dance mastermind Stuart Price] perhaps it was inevitable that Franz would do the same. The Scottish quartet has just released its very long-awaited third album, Tonight. Though they’ve always leaned to the rock side of the dance/rock divide, producer Dan Carey (Kylie Minogue, CSS, Lily Allen, Hot Chip) has provided Franz Ferdinand with a vital sonic update, blurring the lines and adding a slinky electro groove, something very obvious from the first listen.

First single “Ulysses” is a grower; synthesizers squelch as the guitars churn and lead vocalist Alex Kapranos chants “Well I found a new way / I found a new way/ C’mon doll and use me/ I don't need your sympathy.” On “No You Girls,” the track opens with a beat very reminiscent of Taco’s “Puttin’ On The Ritz” – it’s all very strange. For anyone who felt Franz Ferdinand relied on retro influences before, Tonight won’t change any minds. They have one foot in the eighties, and one in the now. “Lucid Dreams,” one of the disc’s highlights, sums up the album perfectly; beginning as a rock song but gradually transitioning into a Daft Punk-esque electro jam, it’s the boldest track on Tonight and a clear indication that the group are more than comfortable messing with their sound, pushing things in new directions and having fun. I think they’ve been listening to James Murphy’s DFA; there’s no other explanation.

Producer Dan Carey has done a superb job of sprinkling the tracks with new wavey electronics; not enough to fundamentally change the sound of the group, but just enough to glam them up a bit; is this necessary? Yes. And thank God, it works. So into the project was Carey that he even made a dub version of songs from Tonight -- drawing on his work with Lee ‘‘Scratch'' Perry, Mad Professor and dub legends Sly & Robbie. Released as Blood, it’s a companion of sorts to Tonight, as a limited edition bonus disc.

‘‘If I want to hear this album I'll listen to the dub version,'' Kapranos says. ‘‘It's so exciting.'' The gap between 2005’s You Could Have It So Much Better and Tonight is a vast one, especially for a new-ish group still trying to carve their place in the canon of popular music. Their first, aborted attempt at what would become Tonight was at the hands of Brian Higgins and his uber-pop Xenomania production crew; it apparently may have been too pop. ‘‘Some stuff survived but I don't think it'll ever see the light of day,'' Kapranos says of the Xenomania sessions. ‘‘Or maybe it should be released in 30 years -- like Brian Wilson’s Smile -- when we've had 30 years to wear down our principles and cash in on it. And I hate to puncture the myth around these Xenomania sessions, but the stuff wasn't that exciting. It was fun, but it just didn't work out.'' Guitarist Nick McCarthy adds: ‘‘We write our own music. They weren't used to that.'' Those early sessions were trashed and the task was begun anew, probably accounting for the long wait. Happily, it was worth that wait. Tonight is a solid third outing from one of the best bands of the zero-zeroes.

DISCOGRAPHY

Franz Ferdinand (2004) – Scottish quartet delivers an eponymous debut album to critical acclaim; takes world by storm. Essential downloads: “Take Me Out,” “Tell Her Tonight” and the queer-flavoured “Michael.” Franz hit their stride as Daft Punk release a remix of “Take Me Out” which storms the dance charts.

You Could Have It So Much Better (2005) Said quartet decide not to mess with a good thing and release more of the same; although it should be said the world was hungry for it. Essential downloads: “Do You Want To”, “I’m Your Villain,” “The Fallen.” At this point, it’s clear they are more than their haircuts.

Tonight (2009) Said quartet decide to mess with said good thing, with spectacular results that pushes their sound in ‘exciting’ new direction. Early copies feature Blood, a companion disc of dub versions. Brave! Essential tracks: “Ulysses”, “Bite Hard”, “Lucid Dreams.”

Everyone's At It.

When Lily Allen entered the music scene back in 2006 with a handful of spritely, catchy pop singles, and an accompanying debut album Alright, Still (2006), she proved to be more than just another bratty pop star; songs like “Smile”, “Knock Em Out” and “LDN” were a breath of fresh air at the time. Allen’s sardonic delivery coupled with sunny melodies were an instant hit and the supremacy (at the time) of MySpace propelled her into the spotlight. Three years later, and after numerous delays, Allen is ready to release her second disc, the hotly anticipated It’s Not Me, It’s You. Preceded by the single “The Fear” and its brilliant “Lily In Wonderland” music video, the album continues along the same path of sharp lyrics and keen observations, albeit presented in a slightly less retro, more pop and electronic way. Allen has called the sound “bigger” and one listen to “Everyone’s At It,” another track from the album, proves it. From the country influences on “Not Fair” to the girl pop of “22” to the ode to George W. Bush, appropriately titled “Fuck You,” the album is full of catchy choruses, great beats and resonant messages. It’s Not Me, It’s You is out February 10^th.

Pet Shop Boys, the iconic duo of Neil Tennant and Chris Lowe, are set to release their new album in March, entitled Yes. Their last release, 2006’s Fundamental, was a sombre yet beautiful affair, all strings, melancholy and even got slightly political (“I’m With Stupid,” their open letter of disgust to George W. Bush and Tony Blair). Politics seem to have been left in the dust on Yes, which is being described as ‘a proper pop album.’ Recorded last with year with producers extraordinaire Xenomania, the eleven-track opus will certainly have the duo back at the top of the pop charts where they belong (in Europe anyway. Here, they are eternally sequestered to the dance chart.) In typical Pet Shop Boys style, there are some fantastic song titles, including “Pandemonium” (“A song about your partner causing mayhem whenever they turn up but being quite loveable nonetheless”) and “All Over The World” (a mid-tempo but euphoric celebration of music and love with irresistible handclap action and a Tchaikovsky sample”). With a return to form, their knack for irresistible, intelligent pop and a gift for crafting fantastic remixes, expect to hear the Pet Shop Boys on the dance floors this year. Fitting, really as Tennant & Lowe are receiving the ‘Outstanding Contribution To Music’ award next month at the Brit Awards. Yes is released on March 24^th.

Irish rockers U2 are undeniably, the ultimate rock band of our age. They lived the rock dream, emerging from working class roots in Dublin, Ireland at exactly the right time, shaking up the day-glo 1980’s with their brand of rally and cry socially ethical rock music. They conquered America, as every rock band wants to, and even filmed it for posterity (see 1988’s Rattle And Hum). Following that, they retreated to Europe to produce some of their best, and weirdest, music ever (refer to 1991’s Achtung Baby and its follow up 1993’s Zooropa), started releasing dance mixes and even experimented with drag (see the video for ‘One,’ a cryptic and gorgeous song, which after seeing the video, many people believed to be about a gay man coming out to his father. A huge chunk of the profits were also given to AIDS charities). Drummer Larry Mullen Jr (the cute guy at the back) also won my devotion when he replied “Probably” to the question “Do you think George Bush is a war criminal?” It’s hard to disparage these guys, even though their fan base seem to be almost entirely made up of thirtysomething white men who work in the financial sector. U2 stopped being hip eons ago, but that’s not what we’re talking about here; their new disc No Line On The Horizon, is their first album since 2004’s How To Dismantle An Atomic Bomb, and this has been the longest gap between U2 albums ever, so interest is definitely piqued. Their Canadian producer Daniel Lanois was quoted by Le Journal de Montreal as saying that “the new album will push the limits of the sound arena much like Achtung Baby did in 1991, stating, "I think we can safely say it's one of the great, innovative records from U2.” No Line On The Horizon is out March 3^rd and the new single ‘Get On Your Boots’ is available now.

Affirmative!

Here is the cover of the new Pet Shop Boys album, Yes. The first single, titled 'Love, Etc' should be out in a few weeks. The tracklisting is as follows:

1. Love etc.
2. All over the world
3. Beautiful people
4. Did you see me coming?
5. Vulnerable
6. More than a dream
7. Building a wall
8. King of Rome
9. Pandemonium
10. The way it used to be
11. Legacy

Yes has a running time of approximately 48 minutes. Tracks 1, 6 and 10 are Pet Shop Boys/Xenomania co-writes. All other songs are written by Pet Shop Boys (track 2 contains an interpolation of Tchaikovsky). As previously reported, the album was produced by Brian Higgins/Xenomania and has a provisional release date of March 23rd, and a day later in North America.

Fear Not Lily Allen.

Here is the video for Lily Allen's new single "The Fear" from her forthcoming album It's Not Me It's You. Happy to hear that while she has now incorporated synthesizers into her sound, she still sounds unique and just like Lily should sound. It's Not Me It's You was mostly recorded in Los Angeles with producer Greg Kurstin of The Bird And The Bee fame and will be released next month.

Damage Control.

Like her or not, Britney Spears has never been far from the public glare, and she’s been utterly inescapable over the past few years, as we all witnessed her tragicomic (mostly tragic) descent into grotesque celebrity meltdown, which became fodder for an equally grotesque pop culture media industry. It was hard not to feel sorry for poor Britney. If sound bytes and interview clips are anything to go by, the girl’s as dumb as a post; she makes Madonna look like Albert Einstein. But that doesn’t for one second mean she deserved an ounce of the rotten treatment she received at the hands of shitheads like Perez Hilton, who make a living off the humiliations of others. If anything, Britney is a victim of celebrity, the obsession of which has become the opiate of the masses who are even dumber than Perez. (When it comes to Britney, it’s so easy to wander off course…)

After the miracle release of the stop-gap yet somehow amazing Blackout, it seems we now have the ‘official’ comeback record that Blackout was meant to be, but never could be. The new Britney disc Circus picks up where Blackout left off, albeit coming across as less banging, more pop, and slightly more diverse sounding than its predecessor. The disc opens with the tantalizing pop nugget and first single “Womanizer,” which ranks as one of her best singles ever, and deserves accolades merely for employing use of the term “Daddy-o,” (for the first time since 1955). It’s pure genius right out of the box and a strong start to the album.

Unlike the thumping club beats of Blackout, we are presented with several mid-tempo cuts on Circus, which are middling at best. Britney ballads always seem like a half dead mylar balloon; saggy and lifeless, like her past hit “I’m Not A Girl, Not Yet A Woman,” an easy contender for worst song ever recorded. Thankfully on Circus, we’re nowhere near lows like that, but their inclusion makes Circus a choppy, inconsistent affair. The best of the bunch though is the Bloodshy & Avant produced “Unusual You,” which borrows a lot from Imogen Heap; a nice slab of downbeat electropop that fits nicely on the album.

“Womanizer” aside, the best track on Circus is “If You Seek Amy” a song so bad, it’s good. As Britney chants “Love me / hate me / Say what you want about me / But all of the boys / and all of the girls / are beggin’ to if you seek Amy.” Sure it makes no grammatical sense, but who cares? “If You Seek Amy” represents Spears at her apex; she’s best when delivering relatively mindless pop music; she is the ultimate pop template, a blank slate for the world’s most expensive producers to show off their skills. Containing a few great moments-- but not enough, Circus is an uneven offering; but it gets the job done. And right now, the job is damage control after a few disastrous and embarrassing years.

Give It 2 U.

There are some amateur mixes floating around online right now, that recreate certain tracks from Madonna's stink-bomb Hard Candy in a radically different, albeit interesting, way. Mainly, it seems as though the remixer has reinterpreted each track as if done by one of her earlier producers. Hence, Nile Rodgers for the Rodgers 85 Mix, Stephen Bray for the Bray 83 Mix, etc. Here are the links for download.

Dance 2Night (Bray 85 Mix)
The Beat Goes On (Jellybean 83 Mix)
Give It 2 Me (Orbit 98 Mix)

8 Great Things About '08

The Ting-Tings

With a handful of brilliant singles from their debut album We Started Nothing, Manchester’s Ting-Tings, comprised of Katie White and Jules De Martino, have effortlessly mastered the art of impeccably crafted garage pop. Not bad for a band which only formed in 2006. Their tunes contain irresistible hooks, nods to funk, pop and dance and a generally happy quality—without for a second being cutesy. Download these: “Great DJ,” “That’s Not My Name,” “Shut Up And Let Me Go.”

Duffy’s “Distant Dreamer”

Welsh soul singer Duffy wowed the world with her masterful take on 60’s inflected soul-pop, in the vein of the late, great Dusty Springfield – to the tune of three Grammy nominations. Her Rockferry album has become the fifth best selling disc in the world for 2008 and the closing track “Distant Dreamer” with its Phil Spector-esque Wall Of Sound and soaring chorus, is a prime example of why so many people have connected with Duffy. British hip-hop singer Estelle criticized Duffy for “misrepresenting true soul music” (why, because Duffy is white and Welsh?), but that just sounds like sour grapes to me. Download these: “Mercy,” “Distant Dreamer,” “Stepping Stone.”

Kris Menace

Paris-based musician Christophe Hoffel, (aka Kris Menace) represents the sound of what is going in Europe right now; an explosion of dance beats that blend old school analogue electronics and house-y rhythms with highly melodic European pop. This year, he remixed Metronomy’s “Heartbreaker” into a swirling dance floor odyssey, that sounds like being caught halfway between a Berlin nightclub and outer space. Brilliant. Download these: “Heartbreaker (Kris Menace Remix)” by Metronomy, “Mer du Japon (Kris Menace Remix)” by Air.

Alphabeat

Denmark is known for three things: Lego, Tuborg beer and power-pop. (Okay, maybe more than three) Let’s not forget Whigfield (of “Saturday Night”) fame and the shrill, annoying, now-dead group Aqua (“Barbie Girl”) hail from this Scandinavian country; the good news is Alphabeat sound nothing like Whigfield or Aqua. They’ve remained a bit of a secret to most North American ears though this should change as they’ve signed on to open for chart-topping girl kisser Katy Perry for select upcoming North American live dates. Their delightful grooves are nothing overtly original; but what they do, they do remarkably well. Plus, they have good mixes: The recent Pete Hammond remix of “Boyfriend” is an homage to late 80’s Stock-Aitken-Waterman and is nothing short of sweetly addictive. Download “Fascination,” “Boyfriend,” “10,000 Nights.”

Bimbo Jones Harlem 1-Stop

Bimbo Jones have been keeping dance floors grooving the world over with their distinctive and 100% groovy remixes for the past few years, and ’08 saw the release of their debut disc, the excellent Harlem 1-Stop, a smartly crafted dance-pop album that blends attitudey vocals from Katherine Ellis (of Roger Sanchez & Freemasons fame) , clever pop melodies and expert production. Download these: “Freeze”, “Make U Mine”, “Don’t Want Me No More.” Talk about a gay-friendly sound. Take that in a good or a bad way…

Kylie Minogue’s “In My Arms”

Easily a contender for best single of 2008, this nugget of pop brilliance from her most recent studio album X, was the second single pretty much everywhere in the world except for Canada and the U.S. The song, produced by Calvin Harris, is one of the catchiest tunes from Ms Minogue in years; it is heavily inspired by the productions of French electro artist Alex Gopher and even generated Kylie’s biggest hit in Mexico since “Come Into My World” via a ‘Spanglish’ version, released officially in Mexico as a duet with Mexican singer-songwriter Aleks Syntek. All I can really say is If the Mexicans sent it into the Top Ten, then you know it’s a fine party tune.

Britney’s “Womanizer” Video

The past couple of years have been fascinating for anyone with an interest in pop culture, not least of all.. for Britney’sy antics. In a sick way, it’s been like watching a hamster in a cage. From shaving her head, to losing custody of her children, to driving around L.A. crashing into things whilst eating Cheetos, it’s been a hell of a ride. Her video for “Womanizer” showed us that we can relate to Brit again; whether writhing naked in a steamy sauna, cooking breakfast for male models, leading office dance routines or photocopying her butt crack, Brit wanted to show us her typical day, and that she’s really just like us. But more than that, she’s back and she wants us to know it. Triumphant.

I’m In Love With A German Film Star

Pet Shop Boys and visual artist Sam Taylor-Wood have collaborated before, notably on their 1999 joint cover of Serge Gainsbourg’s “Je T’Aime… Moi Non Plus” but this time, they cover The Passions’ early 80’s classic “I’m In Love With A German Film Star” to awesome effect. Possessing a haunting electro quality, and backed up by a stunning video starring Taylor-Wood, in which she is stock still, only her cigarette smoke moving, it rose to the top of the BBC Dance Charts last month, courtesy of some fantastic remixes by Mark Reeder, Gui Boratto and Pet Shop Boys themselves. Stunning.

Because You Dance To Disco And You Don't Like Rock.

Thought I'd post this just for fun. "Can You Forgive Her?" is one of Pet Shop Boys finest videos, and quite possibly one of the best music videos of the 1990s. The entire series of Very-era videos were groundbreaking, and fifteen years on, they're still visually stunning. Pet Shop Boys new single "Love, etc." is out in March, from their forthcoming album Yes. Stay tuned to this blog for the single & full album review!

Straight Outta...Auckland?

Ladyhawke
Ladyhawke
Modular (Australia)

One of the best kept musical secrets right now is a New Zealand import, a one-girl music machine, born with the fanciful name Pip Brown, artistically known as Ladyhawke. Having just delivered an astonishing self-titled debut that touches on synth pop, new wave, and rock, Ladyhawke’s debut album is a sleek, catchy as hell offering that will appeal to rock and dance fans alike. I should also mention that the songwriting is top-notch. Co-produced by Pascal Gabriel, whose credentials include Dido, Sophie Ellis-Bextor, Rachel Stevens and Bebel Gilberto, the album was preceded by single “Back Of The Van” which hit the upper reaches of the Australian pop chart earlier this year.

Frankly, I’d be hard pressed to hear an album that was so loaded with potential singles. The current single “Paris Is Burning” will appeal to pop fans and hipster douchebags alike. Written after Pip’s first trip to Paris, she encapsulates the French capital in such an utterly succinct way, right down to the sound. “Kids in the street drinking wine / On the sidewalk / Saving the plans that we made, ‘til its night time / Give me your glass/ its your last / you're too wasted,” she sings over one of the most addictive bass lines this year. The single comes complete with a French version, “Paris S’enflamme” and a remix by Alex Gopher. What more can you ask for?

Elsewhere on the disc, “My Delerium” strikes an indie dance mood, while album opener “Magic” evokes an almost Men Without Hats-esque synthesizer bass part that is simultaneously epic, soaring, melancholy, retro and completely modern. Chock full of great tunes, great lyrics, topped off with a sweet cherry of resplendent production, Ladyhawke is one of the best pop albums of 2008.

Tainted What?

SOFT CELL

Heat: The Remixes
Some Bizarre/ Universal Music

Marc Almond and Dave Ball, better known as 80's electronic outfit Soft Cell, have always gotten a bum rap. Fundamentally unappreciated in North America, save for their 1982 hit cover of Gloria Jones' Northern Soul classic "Tainted Love," they wound up perceived as an odd act, with a shockingly avant-garde frontman who no one knew what to think of at the dawn of the televised promotional music video. In fact, they may have been more successful in North America if no one actually saw them. Almond is, and always has been, a true performer, embracing his queer sensibility and all the eccentricities that entails, dressed in PVC and leather, singing pop and torch songs about everything from love and romanticism to kinky sex, trannies and even murder. It really is a shame that people on this side of the Atlantic only knew them for "Tainted Love," a song that’s not even a Soft Cell original, so theoretically, few people know the true Soft Cell at all. But those who bothered to dig a little deeper with this eccentric English duo were richly rewarded by the fact that their body of work contained some amazing pop melodies, brilliant concepts ("Sex Dwarf," anyone?) and colourful sentiments, sounding utterly unlike any of their contemporaries. As far as ‘one hit wonders’ go, they are the most undeserving of the label; they actually racked up a string of hit singles in Europe, all of which were better than “Tainted Love.”

Their 1981 album Non-Stop Erotic Cabaret was important in that it set the standard for synthesizer duo; it should be noted that Erasure and Pet Shop Boys came long after. Their follow up, 1982's Non-Stop Ecstatic Dancing, inspired by their discovery of MDMA in New York at such storied clubs as Paradise Garage and Danceteria, is considered to be the first ever remix album as well as the first UK record to feature turntable scratches, which arguably gave the Brits their first ever taste of Bronx hip-hop DJ culture.

Given this dance floor-friendly legacy, it only stands to reason that Soft Cell produce a new, full length remix album of their own. Heat: The Remixes has been a long time coming. In the liner notes, Dave Ball explains “In the early 80’s, we didn’t have computers or recall for mixing, so it was all very physical. All hands on deck, so to speak. There could be four of us all with our assigned mute buttons and faders, so the mixdown became like a mini-performance in itself. There was also a lot of clever tape editing involved, including editing the multi tracks, as well as the mixed half or quarter inch master tapes. We never knew exactly how it would turn out, which made it very exciting.” For the most part, remix albums nowadays are marketing afterthoughts in the major label guidebook of how to squeeze maximum profit out of a group or act who have no historical connection to the dance floor whatsoever. Look at Good Charlotte's just-released Greatest Remixes as an example. In terms of remix credibility, Soft Cell are up there, and Heat is on par with genre-defining collections like Depeche Mode's sprawling triple disc collection Remixes 81-04, which charted the evolution of the format, from the basic extended 12" to later (and often radical) re-workings.

A two-disc set, Heat: The Remixes collects new mixes of tracks from Non-Stop Erotic Cabaret and Non-Stop Ecstatic Dancing, as well as from the follow-ups, 1983's The Art Of Falling Apart and 1984's This Last Night In Sodom, for the most part taking the strongest songs from those albums and working from there. Almond and Ball may no longer be fresh-faced art school students, but they remain savvy - they've taken their tracks and handed them to some of the best dab hands in the industry today, including Richard X ("Seedy Films"), Manhattan Clique ("Bedsitter, "Torch"), Atomizer ("The Art Of Falling Apart"), Nitewreckers ("Martin") and even Almond himself on the astoundingly gorgeous rework of "Meet Murder, My Angel." The mixes are as quirky, theatrical and punchy as the originals. On “Sex Dwarf,” remixed by The Grid, Almond croons “Sugar and spice / Isn’t it nice? / Luring disco dollies/ to a life of vice” the Grid’s 2008 beats ‘n effects arrangement makes it sound utterly fresh while not for a moment ruining the seedy feel of the original. It helps that The Grid is Dave Ball, but if anything, it shows that the duo have been very selective in who exactly gets to re-interpret them.

Soft Cell are important in that they charted new territory in cool; a lead singer who was so obviously gay he didn’t even bother [or feel the need] to announce it; an artistic aesthetic so unique, no one’s even bothered to try to copy it, save for maybe Trent Reznor. Except Soft Cell never for a minute came off as contrived.

SOFT CELL “HEAT” ESSENTIAL DOWNLOADS

“Sex Dwarf (The Grid Remix)”

“Memorabilia (Cicada Remix)”

“Heat (Yer Man Remix)”

“Meet Murder, My Angel (Marc Almond & Kinky Roland Remix)”

Keeps Gettin' Better

CHRISTINA AGUILERA
Keeps Gettin’ Better: A Decade Of Hits

It’s hard to write about Christina Aguilera without touching on the elephant in the room. In this case, the elephant is Britney (insert Cheetos joke here). Debuting around the same time, it was hard not to compare the two; they both emerged from the Disney machine and they both began racking up the hits in the late 90’s. To draw a comparison from only a decade before, it could be said that Christina is the Cyndi Lauper to Britney’s Madonna. Aguilera is far more musically gifted than Spears; she takes more risks with her music; she actually can sing, not grunt; she is a lot more flamboyant; she has more personality and generally speaking, she isn’t a train wreck, not counting “Lady Marmalade,” the Labelle cover in which she oversings her heart out, trussed up like a five dollar transsexual New Orleans street whore, playing the part in a frightfully convincing manner.

Comparisons (and really bad make-up) out of the way, Christina stands up just fine all by herself, thank you very much. On her new best-of disc, Keeps Gettin’ Better: A Decade Of Hits, we are treated to a chronological review of the tunes that made Aguilera a star. From the electronic freestyle leanings of breakout single “Genie In A Bottle” to the post-war big band homage “Candyman,” and her epic Mark Ronson co-penned “Hurt”, more than anything this compilation essentially highlights the diversity of her sound, which is only sufficiently appreciated when listened to in one sitting. By the end of the disc, it becomes obvious that Aguilera has little difficulty embracing any genre she chooses to, as new offerings “Genie 2.0” and “You Are What You Are,” (remakes of “Genie In A Bottle” and “Beautiful”) respectively, are put through a Goldfrapp processing machine only to re-emerge as an entirely new version of Christina: electro ice queen. It’s an interesting take, and in the case of “You Are What You Are”, it puts an incredibly fresh spin on what was a great single to begin with.

Over the past decade, it’s become obvious that Aguilera is here for the long haul. Love her or loathe her, she’s got the pipes, she’s got great songwriters on side. On the cover of Keeps Gettin’ Better, she looks like a serious drag queen. I just hope she doesn’t tone it down with age. Like all the best pop stars, Aguilera is content to be playful with her image. She's always embraced the ridiculousness that is being a pop star with humility and a sense of humour. Madonna, take note.

Dreadfully Dire Duets.

ELVIS PRESLEY Christmas Duets
Sony BMG

When Natalie Cole propelled herself back into fame by duetting with her dead father on 1992's Unforgettable, she did something other than laugh all the way to the bank; she established a new genre; Exploitation Pop. While digital technology has generally been a good thing, it comes at a price. And this is it. Priscilla Presley may look like a death-mask, but she's not as dumb as she looks; after Elvis died on the toilet, she made Elvis Presley Enterprises® into an empire, worth more than the GDP of many Latin American countries combined. So, what do we get? We get Dead Elvis© duetting Christmas carols with pop world barrel-scrapers such as Carrie Underwood ("I'll Be Home For Christmas"), Anne Murray ("Silver Bells") and worst of all, Amy Grant. As Elvis sings the lyric "And may all your Christmases..." (from the beyond) on "White Christmas," Grant pipes in with "Come on now big boy!" before he finishes with "be whiiiite..." This is pure comedy, people. Poor Elvis. This will be huge in Tennessee. But I'm not from Tennessee, and Christmas Duets makes me wish I was Jewish.

"Hey Mom!"

CHANTAL KREVIAZUK Since We Met: The Best Of 1996-2006 Sony BMG

Whether you want to hear this or not, the Holidays are just around the corner, which means many things, but it's also when the major labels like to release greatest hits packages. They make great stocking stuffers, you see. This time it's Chantal Kreviazuk's turn. Long before becoming part of the Raine Maida superrockstarmarriage (see also: Stefani/ Rossdale) , and before those "Hey Mom!" L'Oreal hair commercials and the tearful but heartfelt humanitarian trips to Africa, there once was a song called "Surrounded." Kreviazuk is one of those female singer-songwriter types who came barreling straight at us in the mid 90's wake of the Alanis Morissette angry female explosion. There was much tripe back then. Does anyone besides a drag queen remember the song "Bitch" by Meredith Brooks? Or remember it fondly, I should say.

Well, unlike Brooks and so much other pap of the time, Kreviazuk's music was actually worth a damn, and remains so; she's a solid songwriter and while she may never have scored a "Bitch" sized hit, that has probably worked in her favour. The Best Of 1996-2006 is a non-chronological sampler of the Canadian singer's best-known work. Early hits like "God Made Me" remain pleasing nuggets of FM Radio pop; they sound great twelve years later. Newer efforts such as "These Days" and "Ghosts Of You" similarly shine. Like your hair, if you were to use L'Oreal. She's brave too; the bonus track is a cover of Lennon & McCartney's "In My Life" which is a bit cutesy as a bonus track to a hits package. In general, Beatles covers are ill-advised; the originals are practically impossible to top. Same in Chantal's case, but overall this is a well selected compendium of Canadian radio pop, Kreviazuk-style. If there was a time capsule of post-Millennial Can-pop launched into space for white girls who love summer camp, this would be in it. Would it have killed her to throw on a couple new tracks though?

After-Afterglow.

Closer. That’s the title of Sarah McLachlan’s new greatest hits offering. One can really only wonder what it refers to. Is she Closer to adult comtemporary nirvana? Perhaps Closer to retiring? Maybe Closer to the musical well drying up? Sarah’s struggles with writers block are well documented, so right off the bat, that makes this chronological hits compilation an interesting case study. Her early albums Touch and Solace hinted at the later genius to come; 1993’s Fumbling Towards Ecstasy proved that genius with aplomb. And from that point on, it just seems the songs were never quite there. Early singles “Vox,” “Into The Fire” and “The Path Of Thorns” practically overflow with personality. They are, simply put, some of the most captivating Canadian alt.pop songs ever written. Irrefutably, those early songs were nothing short of magical, especially coming along when they did: At the end of the seemingly vacuous, big-haired ‘80’s; yet during the dawn of house-based pop ditties, she was a musical bridge between eras. Sarah was the voice of real; the voice of pure unabashed pop poetry.

But then things kinda went strange. With 1997's Surfacing, one of the most anticipated albums of the 90’s, she seemed to go pop, albeit in an indirect way. But it can’t be denied that the adulation of the masses really does change the game. Hits like “Building A Mystery” and “Sweet Surrender” are, of course, represented here and mark a turning point in this condensed discography. Critical acclaim, Lilith Fair and universal adulation led to Afterglow, which I always suspected was subconsciously so-titled in reference to the afterglow of her commercial and artistic peak. It all just became a little boring. Maybe she had nothing left to prove. The writers block certainly didn’t help matters, but in spite of that, Sarah filled in the gaps with respectable compilations of dance remixes, rarities, b-sides to tide over her devoted masses. It seems odd timing for McLachlan to release a greatest hits at all; this compilation would have made more sense about eight years ago, but still, this collection can’t be discounted; it contains far too many gems. New tracks “Don’t Give Up On Us” and “U Want Me 2” are the soundtrack to Dullsville, but it doesn’t detract from the whole. It would be really nice if perhaps Sarah branched out from only working with Pierre Marchand. I think Guy Sigsworth could do wonders for her. Time will tell.

Love The Wigs. For Real.

Exclamation Point (!)

TINA TURNER

TINA!

Capitol

What becomes a legend most? The “life of a diva” biopic? Retreating to the quiet life in Europe? Drag queen tributes? All-too-frequent compilation albums? Hard to say, but in this case, I sway to the latter. Tina! is Tina Turner’s second compilation in four years, a bit strange but then again this isn’t about the CD, it’s about the tour, and touring with no new release is… well, it’s just not done.

2004’s All The Best was a mammoth undertaking; a 2 disc set containing thirty three of Tina’s “best” moments, and pretty much all the casual Tina fan would need. On Tina!, things are pared down. It’s a more humble undertaking, compiling 18 of her biggest hits and two new tracks for good measure, but the main difference is, here we get a healthy serving of live cuts that make this more than just another standard Greatest Hits type thing.

Starting with a personal favourite “Steamy Windows,” we are treated to all the biggies. “I Can’t Stand The Rain” still sounds utterly fantastic, “Goldeneye” makes me think it was the best James Bond song ever, and “Private Dancer” will always have a place in my heart for that line “Deutschmarks, or dollars? / American Express will do nicely/ Thank you!” Tina Turner is one of those completely convincing artists; you just know she feels the songs. Grandiose yet absolutely genuine, when someone says they adore Tina, I understand why right away. Tina Turner has left an indelible mark on pop, rock and soul. She wrote the book. She is without rival.

Intriguingly, the two new tracks on Tina! are quite good and hint that this may not be the last we hear in terms of recorded output. Written by Patrick Monahan and Guy Chambers (Chambers is best known for penning Robbie Williams’ biggest hits), “I’m Ready” sounds like a throwaway from the Twenty Four Seven sessions, but “It Would Be A Crime” suggests she can still deliver a flawless epic.

If you missed out on All The Best, pick this up, it’s worth it. If you bought All The Best, skip this. But make sure to download her oft-ignored track “Confidential” from her Wildest Dreams album recorded with Tennant & Lowe of Pet Shop Boys. It’s great, and just underlines the fact that there are too many great Turner tracks to possibly be contained on a single disc. Call it the embarrassment of riches.

Tina Turner performs live in Toronto at the Air Canada Centre, Thursday November 13^th. ($57-$450)

Smooth Talk.

WILL-W.

Bodytalk

What do you get when you take a Toronto boy with great songwriting skills, a smooth as silk voice, some killer beats and a passion for quality pop? I’ve said it before and I’ll say it again; I am routinely blown away the amazing talent in this city and Will-W. fits snugly into that ‘amazingly talented’ category. With a strong ear for dance pop with catchy hooks and beats, Will W. has just released Bodytalk, his second album, which is undeniably full of great moments.

The opening track “Getting 2 Know U,” wastes absolutely no time in getting to the good stuff. Will-W. possesses a smooth, soulful voice which comes across as basically effortless, and perfectly suited to the mood of the music.  Track three, “Connection,” is Will-W’s most immediate track; it exudes a delicious early 80’s Madonna energy, while at the same time being utterly modern, equally fun on the car stereo barreling down the highway or grooving on the dance floor.

 Recorded in Toronto and Milan, Bodytalk takes an interesting approach in that it contains Stuart Price-y Euro elements, as evidenced on dancier tracks like “Forbidden” and “Hollywood Ending”, countered with his soulful cover of Madonna’s “Crazy For You,” which displays a sensitivity and understanding that the singer is the master of the material. He doesn’t just cover “Crazy For You”, he reinterprets it in a completely new way. Promotional efforts for his debut a few years back were cut short by a brush with thyroid cancer; it took five months of hard work and commitment for Will to regain his smooth voice; By all accounts, Will-W. is back and better than ever. If you’re into smooth vocals, well crafted dance tracks and sublime popcraft, don’t pass Bodytalk by. It is the sound of a talented singer-songwriter coming into his own.

 http://myspace.com/willwmusic

Bodytalk is available now on iTunes. 

Seven Trees, Whacked Popstars, ABBA Turds & Pretty Ponies.

It was a great night last Monday at the Danforth Music Hall as glam-pop faves Goldfrapp played to a packed house. Vocalist Alison Goldfrapp had the crowd under her spell as she hit every note perfectly, driving the crowd (quietly) wild until she launched into crowd favourite “Number 1.” It was an odd sort of sit-down show, until one of the crowd rushed the stage and danced right in front of Alison, to which Alison said “We need more of that!” That was the cue for Torontonians to get off their duffs and enjoy. Their Bolan-esque hit “Ooh La La” did the trick, and Goldfrapp kept the audience on their feet from that moment on. The set list was heavily in favour of their newest material, from their recent album The Seventh Tree, which was good in that it illustrated how strong it really is. Goldfrapp’s 180 degree turn from the dance leanings of Supernature confused many a fan, but that’s what make the ‘frapp so much fun. What comes next? Frankly, I wouldn’t be surprised by a pop covers album of Russian folk songs. With Goldfrapp, you never know.

With Britney Spears no longer whacked off her face and the child custody visits going relatively well, it seems as if we’ll be looking at another album before long. Britney’s new project Circus should be out by Christmas, and is reportedly more “urban,” because, you know, we really need more urban. Duh. I actually thought Blackout, her last disc, was quite good. If it takes Britney being drugged for her to produce remotely interesting tunes, bring on the Quaaludes, I say!

Toronto duo ProCon, comprised of ‘Count Feedback’ and ‘Countess Christsmasher’ (!) return this fall with their new disc Kingmaker, which contains some absolutely amazing songs, and I am not exaggerating one bit. Songs like “Delia” and “Pretty Pony” are sonically astounding feats of superb songwriting and technical prowess. On their MySpace page, they list Daft Punk and Hall & Oates as influences in the same sentence, so you know they’re cool. Kingmaker is released September 23^rd and is available on iTunes.

Stockholm might be desperate for tourist traps, but the sad news is that the ABBA museum won’t be opening after all. Well, no time soon anyway. "This is very sad for everyone involved and especially for all the fans the world over who are longing for the day when the museum opens," the organizers wrote. No word on whether the museum will feature the mythological “ABBA turd” made famous in the Australian gay classic Priscilla Queen Of The Desert...

Speaking of Australia, keep your eyes peeled this fall on NBC for Kath And Kim. In an Office-ish move, the network has picked up the hilarious Aussie show about a terminally un-hip suburban mother and her dead-end daughter for an American version The show was absolutely massive in Australia and became something of a hit with the gays. Originally, and brilliantly, played by Jane Turner and Gina Riley, the American version of Kath & Kim has cast Molly Shannon (Kath) and Selma Blair (Kim) for the roles. I have mixed feelings. Turner & Riley ARE Kath & Kim, so it remains to be seen if the show will translate at all on this continent. We shall see, but if it does tank, no matter because nothing could top the original anyway. Seek it out and you shall love!

Shoegazer Disco.

MOREL The Death Of The Paperboy

‘Shoegazer Disco’ – that’s how Richard Morel describes the sound of his outstanding new project, The Death Of The Paperboy. Morel, who has been crafting some pretty damn fine remixes for years under the name Pink Noise, has just released this, his fifth album, and the follow-up to 2004’s outstanding Lucky Strike. Morel’s credentials are second to none; he’s been behind some of the best remixes of the past decade, for the likes of Pet Shop Boys, Depeche Mode, Le Tigre, New Order, and most recently he produced a handful of tracks from Cyndi Lauper’s new, excellent dance album Bring Ya To The Brink. His masterful blending of dance and rock have made him one of the most sought-after remixer/ producers of our time and The Death Of The Paperboy marks his strongest album of original material yet.

On past records, the seamless blend of dance and rock has been his trademark, but interestingly on Paperboy, a double disc, he musically separates the two influences. Disc One is pop-rock song oriented, while on Disc Two (dubbed Disc-O. Geddit?), Morel lets his dance floor inclinations shine with amped-up, discofied versions of what’s on Disc One. The separation of musical styles is indeed intriguing. Stripped of beats and effects, Morel’s songcraft really stands out. On “Anymore, Anymore,” he sings “We can go for a walk/ and talk about the things that bring you down/ Like heaven and martinis/ And boys that hang around.” Morel sings about modern life from a gay man’s perspective, without for a second being camp or ironic. His plaintive voice is a sexy growl, but a captivating, meditative one at that. Morel is not a singer’s singer, nor does he perform vocal acrobatics; he’s a Neil Tennant that way; albeit a rockier, baritone version. His voice draws you in with wistful, confessional tones, which like Tennant, relies on finely honed instrumentation and perfect arrangements to make the music soar, as evidenced on “Falling Off The Verge,” where the marriage of strings and rock lift the song into the stratosphere.

 On Disc-O, the rock songs translate perfectly into dance versions, specifically because the best dance songs have always been a little melancholy. Morel’s cover of David Bowie’s “Sweet Thing” is a brilliant addition, and works amazingly well as a dance oriented track. On The Death Of The Paperboy, Morel has really brought it; a meticulously crafted foray into dance and rock, which at no point becomes boring or irrelevant. If anything, Richard Morel is more relevant than ever before. If you like disco, The Smiths, or New Order, this album is for you. Combine them, make it contemporary and there you have the genius of Morel. 

www.morelworld.com

Little Sister.

SOLANGE KNOWLES
Sol-Angel And The Hadley Street Dreams
Geffen

There’s no doubt-- It can’t be easy being Beyonce’s little sister. It’s not really an envious position from an artistic point of view. Imagine being the Boxing Day to your sister’s Christmas. The London (Ontario) to your sister’s London (England). From her days as the front woman of the mega-successful Destiny’s Child, Beyonce has gone on to become an established solo artist and hit maker, film actor, fashion designer, philanthropist and spokesmodel. She’s also the consummate professional; she can tumble down a flight of stairs mid-concert, pick herself up and act like nothing happened. So it comes as no big shock that by track one “God Given Name” on little sis’ new album Sol-Angel And The Hadley Street Dreams, Solange Knowles is embracing her position in life, singing “I'm not her and never will be / Two girls gone in different direction / Striving towards the same galaxy / Let my star light shine on its own /No I'm no sister / I'm just my god given name.” Beyonce is the elephant in Solange’s room, and she wastes no time in addressing it, getting out of the way and moving on. Smart, really, because Solange’s new, second album has more than its share of merits to be extolled.

From the get-go, it’s obvious Solange has great taste in music, I daresay better than Beyonce. With producers ranging from Thievery Corporation, the do-no-wrong Freemasons, Soulshock, The Neptunes and Mark Ronson, the album is packed with star power in production credits alone. “Sandcastle Disco” is sonic genius as she sings “I’m a cool low Jane/ With a skip on my feet / I play tough as nails/ With my heart on my sleeve/ I’m nothing but a sandcastle/ Baby don’t blow me away” which leads into a gorgeous, 60’s doo-wop chorus that sounds utterly contemporary despite its decades old Motown inspiration. Score one for the little sis. First single “I Decided (Part 1)” is pure Supremes homage (think “Baby Love”) and one of the best Neptunes productions ever. The album (cleverly) also contains “I Decided (Part 2),” a complete rework of the track by the Freemasons, which has become a hit in England and is gaining some ground here.

Sol-Angel And The Hadley Street Dreams is not a mindblowing pop experience. It treads deeper, subtler ground than a Beyonce record would, which at least makes it interesting. A pleasant album containing a few moments of smart production and good songwriting, the main criticism being it comes across as an non-cohesive yet ambitious mix of Motown, downbeat and doo-wop; a strange yet strong sophomore effort. Download: “I Decided (Part 2)”, “Would’ve Been The One”, “Sandcastle Disco.”

Crap Kids.

NEW KIDS ON THE BLOCK
The Block
Interscope

New Kids On The Block, circa 1989, were the biggest thing on Earth. Multi-platinum sales, insanely high memorabilia profit margins and sellout shows the world over brought them to the brink of Beatle-esque hysteria, only this time, lucrative marketing contracts brought them to the echelons of wealth a la Donald Trump. What is a pubescent street kid from Boston to do? Then, it all came crashing down like a horribly arranged house of cards. It has been perennially trendy (whether it’s 1988 or 2008) to trash the boys, and, to be clear, that’s not what I’m setting out to do here. After all, there must be some merit in a (no, the) biggest pop band of the late eighties to reunite, record and tour, right? Right? Well, the answer is yes and no. To be fair, the Urban/ R&B market is saturated with far more than its fair share of completely shitty music. But surprisingly (not?), people eat it up like it’s going out of style. And, surprised as I am to say this, their new disc The Block isn’t that different from a lot of fluff on the market today. The offerings on the New Kids' The Block are no worse than the best Gwen Stefani, or the worst Hard Candy -era Madonna. It is essentially pre-fab Urban with track upon track of layered vocals, predictable beats and, let’s not kid ourselves, the fey Jordan Knight was the only one who could really sing. First single “Summertime” is an ode to stunted adolescent development with horrifying lyrics: “I was like… / Hey Girl can I get your number? I remember what you told me too/ Don't call after ten / But you know that I did / Cause I couldn't stop thinkin' 'bout you.” Don’t call after ten? These men are closer to 41 than 14, so we’ve got a problem right away. Instead of presenting songs by men for women, the New Kids have reverted straight back to paeans about boys liking girls not women. It’s all furtive masturbatory fantasy without the adult ending. There’s a high stench of disingenouous popcraft at work. Other tracks like “Lights, Camera, Action” (an ode to videotaped sex) add insult to this aural abomination, plus the album is peppered with guest appearances from the likes of current acts like Lady Gaga and Ne-Yo, to ostensibly bait the album, which in the canon of pop makes The Block the worst kind of pop garbage. If you’re so inclined to scream your lungs out with a stadium full of 35 year old mothers, their reunion tour kicks off September 18th At Air Canada Centre.. At the very least, it would be an amusing spectacle. Tickets are now available. Download: Something else.

Soulful Solange.

Here is the new video "Sandcastle Disco" by Solange Knowles, which I am completely in love with. I've never been a massive Beyonce fan, but something tells me we're going to hear a lot more from her little sis. This is from her new CD, Sol-Angel And The Hadley Street Dreams, which i wholeheartedly recommend. You can download this song below. Enjoy!



Download In High Quality>
"Sandcastle Disco"

Personal Best.

With Madonna fever running high again because of her upcoming Toronto concert dates, it seems an opportune time to revisit the imperial phase of Madonna’s career. Her extensive discography, like any long-lasting recording artist, has its ups and downs, but the era from 1989-1992 is inarguably her imperial phase. 1989’s Like A Prayer set this phase in motion: A huge leap forward, ambitious and the most personal collection she had recorded to date, it still ranks up there as a classic in her mythology. Unlike recent efforts, Prayer contains a range of styles from gospel-pop (“Like A Prayer”), nods to funk (“Express Yourself”, “Keep It Together”), confessional synthpop (“Till Death Do Us Part”), sublime balladry (“Oh Father”) and bizarre experimentalism (“Act Of Contrition”), woven together by the most personal, affected words she’d ever written. Barely three years before, the same street nymph who urged us to “Get into the groove” was announcing “What a child will believe… / You never loved me...” In the sphere of commercial pop artistry, it was a massive leap forward. She was no longer content to warble about dancing, bubblegum courtship and holidays. Pepsi scandal and everything else aside, Like A Prayer was, and remains, her artistic zenith. 2003’s American Life, which was artistically rewarding but commercially maligned, came close, but by then, she’d perhaps become far too guarded by ultrafame to ever be as honest and raw as she was on Prayer.

Fast forward to 1992’s Erotica. While the artistic merits of Erotica don't really match anything on Prayer, it owns a place in the imperial category because she’d done something no one else had up to that point: She’d completely liberated sex in pop music. If thirty years before, The Beatles were using “I Wanna Hold Your Hand” as a euphemism for sex, then there was absolutely no ambiguity about the message Madonna wanted to convey; on Erotica, she wanted to hold your dick. Like all her best albums, Erotica displayed a variance in styles from the gutter-sleaze pop of the title track, to sheer disco heaven (“Deeper And Deeper”), urban beat grooving (“Secret Garden”) and adult contemporary genius (“Rain”). Almost universally panned at the time, Erotica earned its place in the ‘Madonna Best’ canon but only with the passage of time. While my recent review of Hard Candy in Xtra, was not glowing to be sure; if anything, it’s because I remember when Madonna’s music really seemed to push her limits: artistic, sexual, and ultimately confessional. And by confessional, I mean in truth, not just in name.

Audio>

Deeper And Deeper (Instrumental)

Saintly.

What do you get when you mix sublime pop melodies with superb musical craftsmanship, sweet beats, throw in some serious indie cred and top it off with almost universal adulation? Saint Etienne!  I'm always a bit surprised by how many people aren't aware of them, despite the fact they've been a pop staple since the early 90's. Not the crap kind of pop... the good kind.  Here are a few samples to kickstart (or reinforce) your interest in this amazing Brit trio.

Audio>

"Heart Failed (In The Back Of A Taxi)" from the album Sound Of Water

"Lightning Strikes Twice" from the album Tales From Turnpike House (**BEST SONG EVER**)

"Stars Above Us" fromthe album Tales From Turnpike House

"He's On The Phone" from the album Too Young To Die, Singles '90-'95

Two Sides To Every Story.

It's no surprise that Christopher Ciccone's book Life With My Sister Madonna has done very well, hovering in the upper reaches of the New York Times Bestseller list since its release a few weeks ago. Against my general instincts, I read it because a) I am a huge fan of the memoir and b) What fun is reading voraciously if you can't enjoy a little literary trash sometimes? I have to say it was pretty entertaining, and full of titillating stories that of course, Christopher is now getting vilified for telling. Yes, there are awful stories of rotten celebrity behaviour and Madonna comes across as a right cunt, but books like this have to be taken with a grain of salt. There are two sides to every story, right? All I can say is this family has a real talent for writing ridiculous books. The hilariously blunt Chelsea Handler recently interviewed Mr. Ciccone on Lately, and it's worth a watch. Link below.

A Little New Order Never Hurt.

Download>

Juliet "Avalon (Split Lip Remix By Shane Percy)"

Remixed Glory.

OK, I am going to come clean; I have a musical crush on Tracey Thorn. One of my first music purchases was Everything But The Girl's Worldwide album, and from that moment on, Tracey's voice has had a hold on me. Here is a link to the Cagedbaby remix of "Raise The Roof" from her solo CD Out Of The Woods. I first heard this on an Astralwerks Records sampler last year. You may know this... you may not. I think it's pretty damn amazing.

Download>
Tracey Thorn "Raise The Roof (Cagedbaby Remix)"

The News.

Envious from a distance. That’s how I feel about Kylie Minogue’s KYLIEX2008 tour, which just wrapped up on August 4th in London. The tour has had rumours swirling for months, with talk of possible extensions to North America and Australia, but so far to no avail. It’s our loss- the reviews of this show have been nothing short of stellar, as Metro UK pointed out: "Kylie's X-rated show is pop perfection. The Grand Canyon, the Pyramids….and then there's Kylie. Her Showgirl tour in 2006 - all feather and sequin folly - was small fry. The KylieX show is pure, astounding, breathtaking spectacle. Kylie effortlessly, instantly melted 20,000 hearts. Barely five minutes in, the arena was already scraping pop heaven." Sigh.

In other diva news, keep your eyes peeled for The Annie Lennox Collection, Annie Lennox’s first greatest hits album. It’s out September 15th and is a compilation of fourteen of her most shining moments from “Why?” to “Pavement Cracks” and best of all, her “Love Song For A Vampire,” one of the most incredible songs sung by any human being in the history of music. Ever. If you haven’t listened to it by candlelight on a fantastic sound system, you haven’t lived. Lennox, commonly referred to as “the greatest white soul singer alive,” could have easily made this collection a double disc set. Why not then? The embarrassment of riches? I can think of at least ten other tracks that belong on this album. Oh well. Sometimes, homemade compilations are just better than anything any record company could dream up.

Alt-pop Gods Depeche Mode are back in the studio recording their twelfth studio album in Santa Barbara, California. Their last effort, 2005’s Playing The Angel was a solid release and sold millions, not least of all due to producer Ben Hillier who recaptured their electronic rock prowess with such skill that he’s been roped in to produce the next. Of Angel, music journalist Andy Kellman had this to say: “Like the best Depeche Mode material, almost everything on the album will make an initial wowing impact while remaining layered enough in subtle details to surprise and thrill with repeated listens. It is not the kind of album a 25-year-old band is supposed to make.” I for one am loving the re-invigorated sound of the group and am counting the days. Look for an early 2009 release with a massive tour to follow.

The dance charts are interesting these days, and it’s perhaps the first time since 1983 that Madonna and Cyndi Lauper are in the chart together, with “Give It 2 Me” (#1) and “Into The Nightlife (#9) respectively. If you haven’t yet heard it, Lauper’s new album Bring Ya To The Brink is sheer dance heaven, with tracks produced by Basement Jaxx, Toronto’s Dragonette, Kleerup and Digital Dog, among others. Yoko Ono, 75, the world’s coolest senior citizen, is at #2 with the Give Peace A Chance remixes, which are pretty damn good if you ask me, the closet hippie. If you’re into Ono’s avant garde style, download the DJ Dan remix. It’s good fun. Beyonce’s little sister Solange is at #5 with her fantastic track “I Decided,” of which there are two versions, one by Pharrell, and one mix by the amazing Freemasons. The Freemasons version is by far the better of the two.

File Under: Concept Albums

Unknown to most North American ears, Sebastien Tellier is a French multi-instrumentalist best known for his song “Fantino,” from Sofia Coppola’s Lost In Translation soundtrack. In a move that could only be played by a Frenchman, his new album Sexuality is an eleven track meditation on lovemaking. Picture a younger Serge Gainsbourg, but with synthesizers, no body odour and more hair. Signed to Air’s Record Makers label, and produced by Daft Punk’s Guy-Manuel De Homem Christo, Sexuality is at times both retro and modern; he fuses the “cold” synth sounds with “warm” sexual overtones, which works at times, but generally comes across as wholly unerotic.

On the track “Pomme,” vintage synthesizers and gentle bass lines glide the track along, Tellier crooning an unmemorable soft rock-ish tune as sampled moans and orgasmic wails fill the rest of the time. Essentially, it’s a take on the French eroto-pop classic “Je T’Aime…Moi Non Plus,” only much less interesting and entirely unoriginal. If I were Jane Birkin, I’d be asking for royalty payments. It’s supposed to be sexy but fails due to its sheer unsexiness.. Unsexy as, say, retailer American Apparel who have picked up the pre-release rights to play and sell Sexuality in all their of their stores. Qu’elle surprise! It’s almost as if Tellier produced this for the t-shirt retail chain. With a song called “Sexual Sportswear,” one can only wonder. Of the track, Tellier says “I always think about women in sportswear. I like women in sports pants and prefer peeling them off women to lifting up their skirts." Now imagine Justin Timberlake saying that. I LOVE French pop stars.

Not that Sexuality is all bad: On “Fingers Of Steel,” the analogue sounds are catchy and hypnotic, like De Homem-Christo’s Daft Punk itself, only slowed down to play at half-speed. “Divine” is the closest thing on here to a pop song, feeling like a techno-pop take on The Beach Boys. Its catchy pop sound made it the 2008 French entry for the indomitable Eurovision Song Contest, which stirred controversy in France because it’s sung in English. On “L’Amour Et La Violence,” Tellier’s personality finally comes out from under the sheets, as his vulnerable, nuanced voice is front and centre, instead of the production. It’s the best track on the album: A space age love song with inflections of Brian Eno, Daft Punk and Gainsbourg all rolled into one. The album cover itself is telling: A lone man on a horse, gazing out to a barren landscape below, except upon closer inspection, the landscape is a nude woman’s torso. And that “mountain” is a breast. And in true Gallic style, the pubic hair is visible. Vive La France!

(Should Have Been) The One.

Here is "The One," Kylie's new single from the album X. I can't believe how wrong the label got this entire record. This should have been the first single, followed by "In My Arms" and "Wow." X has been criticised as being too much of a mish-mash, which is partially true, but screwing up the singles like this is worse.

Sebastien The Divine.

No, it isn't Jesus. It's Sebastien Tellier! Here's the video for "Divine" from his new album Sexuality, out on Air's Record Makers label. The album is so-so (full review coming soon), but this is one of the best tracks.. sort of French pop meets The Beach Boys. It was produced by Guy-Manuel De Homem-Christo from Daft Punk. I've always had a keen interest in French pop. I'm the only Etienne Daho fan I know, I love Edith Piaf and Serge Gainsbourg was oddly fascinating to me. My theory is that the French are just so frighteningly bad at rock music (refer to Johnny Hallyday) that they make up for it by finding interesting ways of doing pop.

A New Home Online.

Hey all.. Just to let you know.. There's a new site devoted exclusively to my party Grapefruit. I decided to separate the blogging from the party info, so head on over to Grapefruit4U and check it out. You can get event information, request music, view pics and videos, arrange bottle service, and even print up guest passes. Hope you like it and find it convenient!

Client Services.

Client, the U.K. duo (formerly a trio) comprised of Kate Holmes and Sarah Blackwood have just released their first remix album called Untitled Remix. Known for their icy electronic sound, catchy tunes and flight attendant uniforms, they’ve brilliantly reinvigorated the early 80’s Futurist scene with their albums Client (2003), City (2004) and Heartland (2007). If the voice sounds familiar, take note that Blackwood is the former lead singer of Dubstar, who crafted some of the best Brit downbeat/ pop music in the late 90’s. Unlike Dubstar though, Client have a harder edge, and are far more dance floor friendly. Untitled Remix collects the best remixes from the last few years, previously scattered across various formats, and adds some new music into the mix, including “Suicide Sister,” a new duet with raspy-voiced former Nitzer Ebb frontman Douglas McCarthy.

One of their more recent singles “Drive” gets a whopping four versions on Remix, including the minimalist techno treatment by Eyerer & Namito, but the best version by Boosta turns a fast paced electropop song into a haunting, folky rendition not typical of Boosta at all. The Unterart remix of “Lights Go Out” is another highlight but the biggest surprise here is an N-Joi remix of “Zerox Machine” which turns the track into an epic, anthemic club stomper. For those with long memories, N-Joi were huge in the early nineties house scene, so it’s great to hear from them again. “Der Amboss,” the album’s hardest track, is a collaboration with German techno pioneers Die Krupps and features stabbing synths, and industrial effects reminiscent of Depeche Mode circa 1983.

Not only does Untitled Remix highlight the diversity of their music, but it displays the willingness of Client to experiment and push their sound into new, unexpected and fresh directions, and the remixers here really shine. For a mix compilation, this one has had some thought put into it-- It’s not just remixes, but more a collection of different visions of their recent singles. Though it would have been nice to round out the package with some earlier material as well (“Price Of Love,” “Radio”), Untitled Remix is a welcome addition to their discography.

DOWNLOAD THESE!

“Price Of Love” from the album Client
“Radio (Cicada Mix)” from the Radio EP
“Zerox Machine” from Heartland
“Don’t Call Me Baby” from City
“Drive” from Heartland
“Get Your Man” from Heartland
“Zerox Machine (N-Joi Remix)” from Untitled Remix

The Client catalogue is available on iTunes

Oh Dear.

Okay. What can one really say? Sure, we've all had a horrible photo or two taken of us, but something is up here. Why, oh, why do people think that plastic surgery is a good idea? She's turning fifty. So what? Fifty looks better than this abomination. It's a sad comment on our culture that people have to resort to procedures like this. What a disaster.

(Note to Lourdes: Unibrow control is not surgical and can be easily corrected. There is no need to walk around looking like Bert.)

3 Tracks

Hey all.. Well, for anyone who reads my blog on a semi-regular basis, you'll know of my love for Imani Coppola. Her new project Little Jackie continues the tradition of Imani kicking ass, and I thought I would share a little sampler of her new music. The disc was supposed to be out in Canada last week, but still no sign of it. Hopefully it will be available soon. Track 1 is "The World Should Revolve Around Me," the album's first single, Track 2, "Crying For The Queen" is a hilarious response to Amy Winehouse and Track 3 is "The Stoop," the album's title track. Little Jackie has been described as "Lily Allen meets Lauryn Hill." If that intrigues you, press play without further ado!

Modern Guilt

Put down your e-meters, everyone! Beck, the world’s most unlikely Scientologist, is back with a new album entitled Modern Guilt. Beck is a bit perplexing, but every so often he’ll release some truly brilliant single that reminds me he’s more than just a relic left over from 90’s West Coast slacker culture. There’s something about him that’s always been kinda cool.  

Whatever you think of Beck, you can’t say he’s not musically diverse. On past efforts like the folk-rocky Sea Change, the experimental Midnite Vultures or even his previous release The Information, he has exhibited a willingness to swerve into weird yet effective directions that most artists would consider unsafe territory. On Modern Guilt, he delves straight into psychedelia, with a little help from producer Dangermouse to create some tripped out soundtracks that will sound good in any given stoner café in Amsterdam. 

The title track is the best; a grainy sounding, jangly tune replete with Beach Boys surfer guitar, rollicking piano and lyrics such as “Modern guilt/ Is all in our hands/ Modern guilt/ Won't get me to bed/ Say what you will/ Smoking my cigarette/ Don't know what I've done/ But I feel afraid.”  There’s a weird paranoia here, a theme that runs through the disc’s thirty three minutes. This is not Beck’s best work, but it might be good for your hash cookie comedown. I still wonder if he is invited to backyard barbecues with Tom & Katie though. 

-Originally published in Xtra! July 17/08 
 

New PSB Coming

I got a bit of good news today when poking around online.. my favourite duo ever, the Pet Shop Boys, are back in the studio working on their next album. For those of you who found their last album Fundamental a little too artfully melancholic, it seems they've shifted gears (again) this time out. The Boys are currently working on material with Xenomania, one of the hottest production teams out there. This is very good news! If you feel like a stroll down PSB memory lane, check out the "So Hard" video [from 1990] below, one of their best clips in my opinion. I've always thought one of the most impressive things about the Pets is how they always manage to look so unimpressed. And I don't know about you, but I never leave home without two beefy black bodyguards. They definitely started that little trend. Plus, look at Neil's hair. He had some! This version of "So Hard" is the brilliant David Morales remix.

Great DJ

This is "Great DJ" by the Ting-Tings. It is very good. We played this at Grapefruit last week in case you were there and wondering what that catchy, silly song about "the drums, the drums, the drums" was. They are from Manchester and probably won't make it big here because North American media only cares about hip hop, rock music and Miley Fucking Cyrus. But fear not, Grapefruit will continue keep an ear to the ground for the better music coming from over there. Anyway.. enjoy!!

Little Jackie

This is the video for "The World Should Revolve Around Me," the first single by Little Jackie, an American duo comprised of DJ Adam Pallin and Imani Coppola. Imani has been around since '97, releasing music independently, doing shows here and there. In case you don't know of Imani, she is talented, amazing and known for her brilliant tunes and slick rhymes. The album The Stoop should be out in Canada soon. Keep an eye out for Rosie Perez (!) at around 1:50 in this video. I always loved her...

Tonight!

Hey! Grapefruit returns tonight, Friday July 11th!!

We're going out for a little theme this time. Friday's bash will be an homage to the best girl groups of all time. Throughout pop music history, girl groups have never fallen out of fashion, they've racked up countless hits, showed the boys how it's done, filled the dance floors, ingrained themselves in popular culture forever and, well.. there's just something that is super fucking fun about them. Consider THE SUPREMES, BANANARAMA, THE BANGLES, SPICE GIRLS, E.S.G., SUGABABES, GIRLS ALOUD, THE POINTER SISTERS, THE GO-GO'S, EN VOGUE, DESTINY'S CHILD, EXPOSE, TLC, SALT N PEPA, LUSCIOUS JACKSON, SHAKESPEARS SISTER, MEL 'N KIM, VANITY 6, PUSSYCAT DOLLS AND SO MANY MORE....

We will whip these artists up into a high energy celebration of the girl group phenomenon with lots of other fun Grapefruity music sprinkled on top. See you on the dance floor!

((With Pride over, this will be the last Grapefruit until mid-August))

GRAPEFRUIT: HEY GIRL!
FRIDAY JULY 11th
@ FLY 8 Gloucester St

T O R O N T O * C A N A D A

DJs SHANE P + AURAL feat DONNARAMA
+ THE GRAPEFRUIT BOYS

See Who's Coming: Facebook Event Listing
$5 until 10.30, $10 after, 19+ Event.

Thank You's All 'Round

Hey everyone, just a quick note to say thanks for checking out Grapefruit: Extended Play over Pride Weekend. It was without a doubt, one of our most fun parties ever, the energy that you brought was fantastic and fuelled us DJ's well into the night. You rock! Also, thanks for helping us raise a bundle of cash for Toronto's Casey House HIV/AIDS Hospice. Well done! In the very near future, keep your eyes peeled for the brand new Grapefruit4U website dedicated exclusively to my crazy party. You'll be able to get info, watch video, view pics, listen to sample tracks, request music and even print up guest passes. Should be along in a week or so if all goes as planned. Shane xx (NEXT PARTY FRIDAY JULY 11!!!)

As cliché as it may sound, there’s something about bad breakups that channel good art. Back in 1995, former teen pop queen and Ottawa native Alanis Morissette handily proved this on her anguished “rock debut” Jagged Little Pill. Nowhere was this more evident than on the megahit single “You Oughta Know,” which served to warn cheating, lying straight men everywhere of the new female rage. (It came out later that the song was written about Dave Coulier, “Uncle Joey” from TV’s worst show ever, Full House, but let’s forget that disturbing little nugget of information). Fast forward to 2008 and Alanis has experienced a very public breakup from movie heartthrob and fellow Canadian Ryan Reynolds, which has been channeled into her new disc Flavors Of Entanglement. Only this time, that disappointment and hurt has been artfully crafted into an album that embraces and confronts that anger with maturity. Not to mention dance beats and electronic flourishes courtesy of producer Guy Sigsworth, best known for his work with Frou Frou (with Imogen Heap), Bjork and Madonna.

First single “Underneath” is a gorgeous radio friendly track which is nice but truly not representative of the album in general. On “Straitjacket,” Morissette confesses “This shit’s making me crazy” and “Who do you think you’re talking to with such fucking disrespect?” over a pulsing techno grind. It’s an angry song yet the production (read: lack of screaming guitars) softens it which is the interesting dichotomy of Entanglement overall. The best moments come on the second half of the disc. “In Praise Of The Vulnerable Man” is one of the best songs she’s ever written. As she sings “You are the greatest man I’ve ever met / The setter of new precedents / This is in praise of the vulnerable man/ Why won’t you lead the rest of your cavalry home?” you get the sense that you’re a long way from Jagged’s unfocused rage. “Torch” is the album’s stunner, though. On it, she lays down all the things she misses about her estranged lover: “These are not times for the weak of heart /
These are the days of raw despondence / I never dreamed I would have to lay down my torch for you like this.” Pass the Kleenex, it’s heartfelt, graceful and nothing if not sincere in the purest way. Sigsworth has injected Alanis’ sound with a freshness and vitality not heard from her in years. In the Alanis discography, Entanglement is essential.

Hercules And Love Affair "Hercules And Love Affair"

DFA Records

DFA DJ Andy Butler teams up with Nomi, Kim Ann Foxman and queer musical genius Antony Hegarty (!) to deliver one of the most innovative electro/ dance records in ages. For those who felt Antony & The Johnsons’ music was a little too precious, check out Antony here as he warbles gorgeously in his trademark tones over these incredibly fresh, beat driven songs. Essential tracks: “Blind,”Raise Me Up,” “You Belong.” It's now available on iTunes.

These Are A Few Of My Favourite Things.

Hey Toronto! It's time to vote for your faves! Grapefruit fan? Show us the love! You could win a scooter/Vespa type thing. Cute!

Grapefruit: Extended Play

Grapefruit Extended Play! Pride 08

Friday June 27th

The Pride Edition of Toronto's #1 Pop/ Retro Extravaganza!

DANCE - POP- RETRO - CLUB CLASSICS - DISCO - ANTHEMS

DJs Shane Percy, Aural featuring Donnarama and

friends in 'Sex And The City: Grapefruit Style'

Pride Decor Concept by Brent Storey

Fly Nightclub

8 Gloucester Street, Toronto

10pm-4.30am, Extended Bar Service Til 4am

$10 until 10.30, $15 until midnight, $20 after

Grapefruit Pride: Supporting Casey House

The Chicken McNugget Or The Egg McMuffin?

Here is the debut video by Little Jackie. This duo are comprised of the fcuking amazing Imani Coppola and dj/ programmer Adam Pallin. "The World Should Revolve Around Me" is from their new album The Stoop, released in July on S-Curve Records. Brooklyn!!!!!!

Electronic Blues.

Musical reunions can be really iffy, occasionally horrible things. Take for example the recently announced New Kids On The Block reunion album and tour. Considering the group had no real importance outside of Boybandia, no legacy and no decent singles, one can only surmise that nostalgic commercial opportunism is the usual motivator. There's a reason why they don't even make it onto retro lunch hours on the radio- they stunk. It's rare when a reunion happens that's actually worth doing.

Former musical partners Vince Clarke and Alison Moyet, collectively known as Yaz (Or Yazoo in the U.K) do not fall into the category of pointless reunions, because they accomplished something together that changed the landscape of synthesized dance and pop music, in ways that resonate even today. He, the shy musical genius, the founder of Depeche Mode with a gift for hooks, who back in 1982 had just left the fledgling group he created. And She, the unlikely pop star, a hefty half-English half-French blues singer with a gift for belting out with such raw emotion that she just couldn't be ignored. They were both unlikely pop stars, championing the marriage of synthesizers and soul music. No one sounded like them back then, and no one has sounded like them since. They topped the charts in England and Europe, they invaded the dance floors of America and they conquered clubland at the Paradise Garage. Their reign was brief and they exited the stage at the height of their popularity, after barely two years together.

Twenty five years after they disbanded in 1983, Yaz are back with Reconnected, a tour of the U.S. & Europe, and In Your Room, a four-disc collection containing their two original albums, 1982's Upstairs At Eric's and 1983's You And Me Both, plus a third disc of remixes and a fourth DVD disc, containing their promotional videos, BBC appearances and a brand new documentary entitled Two Albums, Four Singles And That Was It.

Upstairs At Eric's [based on the location of where the recording sessions took place] is one of the most groundbreaking records of the eighties. The album wastes no time in getting straight to the fun. The first track, the classic club hit “Don’t Go” is an experiment in synth/funk soul with its addictive one-finger keyboard riff and Alison’s affected howling blues vocals. Ask any DJ: It remains a slamming dance track to this day. As befits the time of its original release in the very experimental early 80’s, the album ventures into avant garde territory at times, notably on the very unconventional track “I Before E Except After C” which is more of an experiment in sound technology of the time, with its vocal loops and rich analogue synth sounds. But is perhaps the track “Midnight” that most epitomizes the genius of Upstairs. Moyet’s incredibly impassioned vocals bellow forth with a richness and emotion more evocative of female blues singers three times her age (Moyet was just twenty when this was recorded). “In My Room” is another standout. With perfect vocals layered over pulsing analogue beats; the soulful depths of Moyet’s voice contrasting against the icy synthesizer is a revelation. It humanized electronic music for the first time. Even the great Donna Summer was not big-voiced enough to bridge the gap between soul and machine.

The follow up, 1983’s You And Me Both, was a considerably more difficult affair. Less immediate, and more reflective, it is just as engaging as Upstairs, but in a completely different way. The strained musical relationship became a running theme, as it snuck into several songs on the album, particularly on “Softly Over” and “Walk Away From Love,” but perhaps most on the gorgeous “Nobody’s Diary” as she sings “I can't believe you want to turn the page/ And move your life onto another stage / You can change the chapter / you can change the book, But the story remains the same / If you take a look.” Much like with his first group, Clarke seemed to have tired of his partner, and Moyet was calling him out. It was only with his third attempt, Erasure with Andy Bell, that he found a lasting, satisfactory arrangement.

Yaz were, and remain, many things. They were fusion before fusion existed, they were the DJ’s dream, the masters of club, chart and pop radio. The Vince Clarke triumverate of Depeche Mode, Yaz and Erasure is one of the most influential musical legacies of all time, and one could not exist without the other. Together they influenced everyone from Derrick May and Detroit techno to Nine Inch Nails and Pet Shop Boys, to LCD Soundsystem (who even name-drops Yaz on ‘Losing My Edge’). With both Yaz albums remastered and repackaged for In Your Room, Yaz are set to be enjoyed all over again. Dance music freaks of the world, rejoice; this is where it all became very interesting.

Grapefruit GOLD: This Friday!

Hey everyone! Grapefruit is back this Friday, June 13 at Fly for another delicious celebration of what we love most.. hi-NRG pop, retro & classic dance tunes, with a few new tracks up my sleeve that I can't wait to play! Performing their new single "Chemicals" are White Punks On Dope, consisting of my friends Gavin Bradley and DJ Dwayne Minard, whose spectacular new single "Chemicals" is amazing and will leave you wanting more!!  Donnarama will be in the house, of course, and you may see a few of those wonderful B-Girlz running amok. See you on the dance floor ;)

GRAPEFRUIT: GOLD

Friday June 13

DJ SHANE PERCY with DONNARAMA & MAHOGANY

+

WHITE PUNKS ON DOPE featuring FRITZ HELDER

FLY NIGHTCLUB

8 Gloucester St, Toronto

10pm - 3.30am, 19+

$5 til 10.30, $10 after

http://www.flynightclub.com

Musicians, Not Celebrities.

Rejoice gays! Madonna is bringing her white lady R&B to Toronto for two dates, October 18 & 19. This is very good news for Toronto Madge fans as this city was rudely ignored last time around on her Confessions Tour. The new Sticky & Sweet Tour is selling out all over the place, starting in Cardiff, Wales on August 23. Hopefully she won’t do too much from her new album. And what's with the ugly design coming from the Madonna camp these days? (Refer to above graphic). When recently asked if she would ever like to work with Madonna, up and comer Robyn reportedly replied “No. I don’t expect to work with her. Anyway, I don’t collaborate with celebrities. I work with musicians.” Ouch! I can hear the venom spewing forth from millions of gay men, even as I type.

Well, it came down to two Davids on American Idol recently, and I think the right one, David Cook, won. The other David (surname Archuleta) didn’t even really come close in the end, as millions of votes came in favour of the elder David, who possesses a Nickelback-sounding drone but is actually really good when he’s steered away from the schlock-rock. Check out his performance of “The Music Of The Night” for proof.  Randy Jackson called his performance a “molten hot lava bomb!!!” while Paula Abdul praised his “beautiful instrument.” I swear that was the last season of Idol I will ever watch. But I have to admit, Paula commenting on performances that hadn’t yet occurred was pretty damn priceless.

Here’s more proof (if we needed any) that Prince is a complete wanker. He recently performed a cover of Radiohead’s first big hit, “Creep” then balked when a fan video of it found its way onto YouTube. Either Prince is an asshole or those Seventh Day Adventists he is so fond of have put a complete stop on his brain functions. Prince has no legal claim to copyright on someone else’s song. When word got back to Thom Yorke, Radiohead’s lead singer, he was incredulous. “Really? He's blocked it?" asked Yorke, who figured it was their song to block or not. "Surely we should block it. Hang on a moment." Yorke added, "Well, tell him to unblock it. It's our song." Methinks Prince himself is the creep. Is there no end to this man’s ego? Or does he just not want us seeing close-ups of the make-up he applies with a garden trowel?

 Let’s finish off with someone a little more real here: Morrissey. He’s back with a new album entitled Years Of Refusal this fall. The album was produced by Jerry Finn, who worked on Morrissey’s excellent 2004 disc You Are The Quarry.  The first single “All You Need Is Me” will precede the album and the b-sides contain collaborations with the amazing Oscar winning composer Gustavo Santaolalla. 

Fun With Crayons.

Call it a rollercoaster career - few artists have risen to such great heights then dropped so tremendously as dance diva Donna Summer. In the late seventies, she was producing top-notch, genre-defining disco, such as 1977’s opus  “I Feel Love” in Munich with music production legends Pete Bellotte and Giorgio Moroder, but by 2000, she’d been reduced to singing the theme from the Pokemon movie. Ouch. Between that, she’d released some fairly dodgy pop (the bloodcurdling “She Works Hard For The Money”), some catchy fluff (the Stock-Aitken-Waterman gem “This Time I Know It’s For Real,” but peppered with rare flashes of brilliance (“State Of Independence”). A most disjointed career, to say the least.

 Her new album Crayons, just released on Sony’s new Burgundy imprint, is her first full album of new material since 1991’s utterly dire Mistaken Identity. Interestingly, Summer has hired a variety of producers including Danielle Brisebois (Natasha Bedingfield, Kelly Clarkson) and Greg Kurstin (Nelly Furtado, Lily Allen), which is effective in giving Summer’s new music an extra-fresh glossy sheen. On the Rihanna-esque title track, she doesn’t sound anything like she’s supposed to, which is both good and bad.. Rihanna impersonations aside, it’s not a bad track, but Rihanna does it better which makes it feel a tad pointless. On the other hand, “Science Of Love,” hits that perfect Donna Summer stride. It’s an odd balance. One second, she’s herself, but the next, she’s ditched her gracious maturity to belt out something unmemorable and disposable.

 Further in, she seems to want to be herself again on “Be Myself Again,” a haunting ballad which sounds just like “Sympathy For The Devil” by the Rolling Stones during the first thirty seconds. “The Queen Is Back” is an interesting track as she refers to herself in the third person, singing “So many years ago / On the radio / She crept into your soul / And loved to love you.” It’s one of the album highlights and a definite affirmation that she may at last be back, and finally comfortable with her legendary status.  “Stamp Your Feet,” another album highlight, is a catchy, chantlike tune that seems to be another life affirming moment for the diva. Crayons is a fine album. There are a couple of missteps, but overall, this album is good fun, and may just remind people of why Donna Summer was special in the first place.

Shreds Of Hope.

No other band epitomizes the 1990’s quite like Britain’s Portishead. Comprised of instrumentalists Geoff Barrow and Adrian Utley with reedy vocals provided by the reclusive Beth Gibbons, they were perhaps the most unlikely group of musicians to make it big back then. Dummy, their critically acclaimed debut from 1994 still ranks as one of the best (if not the best) trip-hop/ soul record of that decade. Portishead have been completely out of the picture since 1997, so what to make of them in post-everything 2008? They’ve just released their third album appropriately entitled Third. And while they haven’t exactly changed, it would be fair to say they’ve just become a little bit darker, if that was even possible. Songs like “The Rip” and “Plastic” burn with so much longing and sadness, it’s unsettling if you’re not in the mood for them. Compared to this new album, their past hit “Sour Times” was a pop song. There has never been anything accessible about them, but that’s what makes them fascinating in a way- they don’t care.

The first single “Machine Gun,” as its name suggests, is a jarring, discordant romp into sheer hopelessness. Gibbons sings “Saw a saviour / a saviour come my way / I thought I'd see it / at the cold light of day / but now I realise that I’m / Only for me.” On “Nylon Smile,” she warbles “I'd like to laugh at what you said/ But I just can't find a smile /I wonder why you can't/ I struggle with myself/ Hoping I might change a little/ Hoping that I might be someone I wanna be.” “The Rip” is the CD’s most gorgeous moment: A fragile guitar and distant vocal build and build as percussion and analogue synthesizers join in, raising it up into something vaguely melodic. It sounds like the only shred of hope on this record.

I think of Portishead and Third as a musical curiosities. They have no obvious qualities that would make many people like them; melody is generally alien to them, there is nothing in their sound that would suggest mass appeal, and calling them melancholy would be a serious understatement. Gibbons’ voice is utterly despondent yet somehow gripping in a way only she can pull off. I don’t think I’ll listen to Third much. But I can’t deny its power.

Listen Up!

Double Dose For June!

Hey everyone! Just a heads up that we have two Grapefruit parties in June.. the regularly scheduled edition on Friday, June 13 (with White Punks On Dope featuring Gavin Bradley, Dwayne Minard & Fritz Helder) and our very special Pride Edition on Friday, June 27. See you soon!

And That's Why I Love You...

“I’m excited to have this line-up, are you kidding me?” Cyndi Lauper tells me from her home in Brooklyn. She’s referring to her True Colours Tour, which is coming back for a second year, to entertain, create awareness and raise funds in partnership with the American HRC [Human Rights Campaign] and Canada’s EGALE. Alongside Cyndi, The B-52’s are headlining the tour, which stops at Toronto’s Molson Amphitheatre on June 4^th along with the The Cliks, Indigo Girls, Rosie O’Donnell and hosted by Carson Kressley. “It’s gonna be a fun tour, I’m looking forward to Toronto. I’ll be a little unhappy that I won’t have time to stop off at the Hockey Hall Of Fame, I must have been there ten times already. My kid loves it, he was up there going “Mom, how come we don’t have a house here?”

Lauper is audibly jubilant about having The B-52’s join her this time out. “I love them! Have you heard their new album? It’s fantastic! I know them from way back,” she muses. “I guess I met them in the 90’s because Kate [Pierson] was friends with my friends… and everybody kind of met and then I met up with them again in 2003 and I was watching them sing and thinking ‘we should do something together. Maybe one day I’ll have a new CD, and they’ll have a new CD, and we can go out together… and maybe we’ll even take the HRC with us..’ you know, thinking all this stuff, and now it’s actually happening which is extraordinary.

The need for public awareness is well established in Cyndi’s mind, and she knows full well that music really is a unifying force in the world. When asked about why equal rights for queers is more of an uphill battle in the United States, Cyndi is honest and direct about the subject, “I don’t know hon. You could still be fired from your job in thirty one states if you’re suspected of being gay, bisexual or transgendered, so I mean, things are hard right now. I don’t know what our story is [in America], but I think …Lack of information? People are that way… I really don’t know.”

In addition to round two of the True Colours tour, Cyndi is also promoting her new CD Bring Ya To The Brink, a club-friendly dance pop CD that she is very much looking forward to performing live. Lauper traveled to Britain and collaborated with a host of top notch dance producers including Basement Jaxx, Digital Dog and Toronto’s own Dragonette. The variety of producers also challenged Lauper’s traditional approach to recording, “It was a little nutty at times because there was a lot of different people [involved], so it wasn’t just like “OK, I’m going to make this record with this one guy… I had an idea of what I wanted to do and it’s sort of easier [when] you work fresh with each individual, like if we really hit it off, I wrote another song with them. It was fun and I had a great time. I’m very excited about it…I had an idea and it actually happened, it actually came together!”

One of the new tracks, “Raging Storm” is a poignant social commentary, disarmingly political for pop music, but a prime example of pop that isn’t afraid to make a statement, especially in a time when the pop charts are dominated by music that has little, if any, social meaning. What’s it about then? “It’s about everything. It’s about [the world] being blinded by celebrity instead of what’s really going on, ‘cause what’s going on ain’t so good. You know, this is an interesting time in the world. It’s really time for people to step up and be mindful about this planet and each other and really embrace what’s going on, understand it and do the right thing.”

Not that the album is all politics disguised in club beats. “Into The Nightlife” is a seriously fun club banger and Lauper clearly had a fun time making it. “Yeah, some of it was hilarious. It’s Basement Jaxx stuff, it was two days with them in Britain. See, here’s what I know, not only do they drive on the wrong side of the street there…Sorry, the other side- but they sing on the other side of the beat, so I went over there to learn that…trying to figure out the whole English thing, hoping my accent would change just a little, but no [laughs]. So then I met Dragonette to work with them in London and realized then that I went all they way over there to meet some Canadians! It was funny.”

Having been through the fame game and all that entails, despite her career upswings and downturns, Lauper has truly ended up the winner and is now content to focus on her remarkable musical gift and her passion for social justice. With a fresh new album of rather fun dance music and a tour that is contributing to the force of good in the world, Lauper is at the top of her game. Having been through the relentless machine of mega-celebrity, I ask her how celebrity is different now, compared to when she rose to fame in 1983: “I think everyone’s just so hung up on getting famous now, they’re not focusing on their craft. Although, there are a lot of kids who work really, really hard. Lindsay Lohan is a wonderful little actress and Britney Spears busted her butt for years and years and years, I mean those girls worked really hard. And Christina Ag…Agri.. Agrillera? Whatever… I can’t say her name, I have soft ‘L’s!” Her L's may be soft, but Lauper's work ethic is hard and full of heart. She's one of the nicest, most genuine people I have ever met. And what a voice.

Turn It Up!

Toothache.

There are few occasions as momentous in pop culture as the release of a new Madonna album and Hard Candy is no exception, not least of all for the much-vaunted collaborations with Timbaland, Pharrell and Justin Timberlake. Madonna has always scored big because of her work with up-and-coming producers but now, it’s the sound of Madonna following the herd which makes Candy taste stale right out of the box. That’s not to say there aren’t a few good moments here: “Heartbeat” is a great electronic hip hop jam, which is nearly ruined when she exclaims “See my booty get down!” which might be convincing from Missy Elliott, but definitely not Madonna. “She’s Not Me” is fun and has little Donna Summer “Bad Girls” whistles, “Miles Away” sounds a bit like classic Madonna, but the overall feel of Candy is the complete lack of exuberance that made some of her past records (“Music,” “Like a Prayer”, “Hung Up,” “Ray Of Light”) so much fun.

Further in, “Spanish Lesson” is a jumbled mess, devoid of a hook, which is odd for Madonna because she’s usually so good at writing them. Lyrically the album is typical Madonna: Rhyming “waiting” with “hesitating” (again...), the occasional dispassionate cliché and juvenile rhyming schemes abound. The R&B leanings of Hard Candy and cringe-worthy commands to “Get stupid!” come off as nothing short of awkward, which makes Hard Candy feel overwhelmingly unnatural.

At its core, popular music is a fantasy art-form. It’s the sound of the forefront of modern culture; the music used to sell sex, youth, glamour, and in some cases, shampoo. On this album, the fantasy falls dreadfully flat. Madonna will doubtless continue selling that fantasy, but only the most non-discerning listener will think this artful, right down to the hideous album cover. Madonna cunningly liberated sex in pop music, but ironically she’s always been a bit too wooden to pull off the sex kitten routine successfully, which becomes sorely apparent on the very ordinary Hard Candy. Madonna needn’t have jumped on the Timbaland/lake bandwagon; she has nothing to prove because she’s fantastically classic already. Perhaps Madonna sums it up perfectly herself on “Give It 2 Me” when she sings “You’re only here to win
/ Get what they do / They’d do it too
/ If they were you
/ You done it all before
/ It ain’t nothing new.” I wish I'd have found more in this to like.

Why You Should Care About Imani Coppola.

Nowadays, with Gwen, Madonna and Nelly F (and most other commercial pop) sounding an awful lot alike, I fear pop music has entered a new phase of bland. We're just getting more and more of the same, so sometimes I have to remind myself that there are still artists out there who are truly original, and making some kick ass beats. Not least among them is the wonderful Imani Coppola, who had an early brush with fame back in 1997, with the song "Legend Of A Cowgirl" from her outstanding hip-hop/pop hybrid CD, Chupacabra. Back then, Imani was signed to Columbia Records who stupidly dropped her contract after the album failed to catch on, but the real reason was the complete failure of Columbia to promote the album at all.

Following that, Coppola soldiered on, releasing her music independently and not really getting the acclaim that she rightly deserved, save for a cult (which includes me, I guess) following who have kept tabs on her interesting career. Last year, Coppola released The Black & White Album on the Ipecac label, and things have been on the upswing again. For proof, check out the brilliant "Raindrops From The Sun," "Keys 2 Your Ass," and the rocky hip hop anthem "30th Birthday" featuring Rahzel, former member of The Roots.

This year, Imani is going down a new path as Little Jackie, her new project with DJ/ programmer Adam Pallin. They've been signed to S-Curve Records and the debut Little Jackie album will be released in a few short months. Their first single "The World Should Revolve Around Me" is pure pop genius, catchy and fun with great lyrics. Check out the video below. Zero gravity sure looks fun!

Light As Air.

Air, the eclectic French duo of Jean-Benoit Dunckel and Nicolas Godin, have a lot to be proud of. Since their 1998 debut Moon Safari, they have gone on to infuse their laidback electro groove with techno, pop and prog-rock overtones to such brilliant effect that they, as a downbeat experimental pop band, have had a surprisingly huge influence on the new school of French electro, pop and dance. So impactful was Moon Safari that it’s just recently gotten the reissue treatment--and rightly so.

 Moon Safari is undeniably important in the electro canon. It took elements of electronica and Eno-isms, and mixed that with influences ranging from ELO to Burt Bacharach to Serge Gainsbourg, to create something beautiful, hypnotic and completely otherworldly. From the chilled Café Del Mar type groove of “La Femme d’Argent” to the weird robopop of “Sexy Boy” and “Kelly Watch The Stars,” there was something special and different at work, an album that encapsulated indie credibility, a finely honed yet strange musical sensibility and hip Euro-chic.

 Smartly, Astralwerks and EMI have repackaged Moon Safari for its tenth anniversary, aimed at a new generation of listeners as an expanded triple disc set, comprising the original album, a second disc of remixes and live BBC performances plus a DVD containing their Eating, Sleeping, Waiting & Playing documentary, in addition to music videos and album graphics.

 This repackaged set is squarely aimed at completists; for the average person, the original single disc version will do just fine.  But this tenth anniversary collection serves as a gentle reminder that a decade ago, two would-be French “pop” stars actually came closer than anyone before them to claim a bizarre musical throne of pseudo pop, ambient and lounge. A decade later, it is well worth repeated listens. 

"Happiness" Is Goldfrapp.

Goldfrapp, probably my favourite band of the past ten years, have just released their new Happiness EP on Mute Records. The second single from their stellar new album Seventh Tree, "Happiness" is a goosebump inducing folktronica pop track, just the sort of thing they do best. It sounds like a Beatles outtake from the Sgt. Pepper recording sessions, only modern. It has a timeless, marching feel, brass, handclaps and tiny little bits of electronics for good measure. Seventh Tree is a deliberate step back from the glammy electro-pop of Supernature, and at first I was surprised and disappointed that they'd kind of gone organic, but in retrospect it was a good move seeing as every other band on the planet is shitting out electronic music anyway. One of the best things about Goldfrapp are their amazing videos and this new one is no exception. Shot on what looks like the happiest street in England, it's based on the 1953 film Small Town Girl and features Alison as a policewoman, a gardener and flower vendor, and bandmate Will Gregory as a mailman and a garbageman. I mean, um.. sanitation worker. It's all in the details.. Check out the baby in the pram at 2:34 and the dog at 3:12!

Amazing!

Alphabeat, Ladytron, Mariah & more.

Ah, spring. As the snow thaws, the sun warms our faces and city parks stink of six months worth of dog shit, it is also the time when the music industry gears up for the major, big-name releases.  The two most anticipated are Madonna, whose Hard Candy drops on April 29^th and Mariah Carey who unleashes E=MC2 on April 15^th. Incredibly, Carey’s new single “Touch My Body” has become her eighteenth number one single in the U.S and she is now in a position to overtake The Beatles if she hits twenty. It’s quite the record for such a completely predictable artist. So expect more overly produced Mariah-rhea clogging the air waves this summer. Interestingly, Mariah interprets “E=MC2” as “The Emancipation of Mariah Carey to the second power,” and is, sadly, nothing to do with scientific theory. Personally, I think a science concept album would have been a lot more fun. Just imagine a Mimi cover of Thomas Dolby’s “She Blinded Me With Me Science.” Now wouldn’t that be entertaining?

 Robyn, the pint sized Swedish pop princess who gained fame in the late 90’s for her Max Martin produced “Do You Know What It Takes,” is back and better than ever. Back then, she was basically chewed up and spat out by the music industry who wanted to mould her into a cash cow Britney/ Christina clone. Robyn was having none of it, so she bailed and went it alone. By all accounts, she has come out on top with a string of brilliant singles released on her own Konichiwa Records label, including “Handle Me”, “Who’s That Girl” and the now well-known “With Every Heartbeat,” her collaboration with electro act Kleerup. Robyn fever is definitely spreading to this continent, and she’s on a mini tour of North America, which includes Montréal on May 4th (Cabaret La Tulipe) and Toronto on May 5^th (Phoenix Concert Theatre). It should be packed to the rafters, and I imagine by a lot of gay boys.

Hipster faves Ladytron are back, and releasing their new album Velocifero in June on Vancouver based Nettwerk Records. Their last album Witching Hour, saw a major shift in sound, and things should get even more interesting with Velocifero, which was recorded in Paris and produced by Alessandro Cortini (Nine Inch Nails) and Vicarious Bliss (Justice). No word yet on a tour, but it seems likely. Too bad they are so dull live.

You may have heard of Alphabeat by now. If you haven’t, keep your ears perked because this Danish pop group are ridiculously fun and their songs are infectiously catchy. And apparently, they want to be taken seriously as they recently declined to open for the Spice Girls recently, not wishing to be viewed as disposable pop. Their song “Fascination” has gone Top Ten in the U.K. and they are definitely worth a download or two. Also, the group Matinee Club (formerly The Modern) are on the rise. The British electropop group have just been signed to Universal in Europe for a five album deal, and their “Discotheque Francais” single has been remixed by the fantastic Manhattan Clique. If you like sweet dance pop beats, synthesizers and huge choruses, Matinee Club are for you. Happy listening!

Hoovering Madge.

Here's something I thought I'd never see- Madonna vacuuming! This is pretty funny, and one of those seemingly rare times Madonna displays a sense of humour about herself.

Disco Friendly

When I first heard Moby was making a concept album that would more or less attempt to condense twenty five years of New York club sounds into a sixty five minute disc, I was admittedly skeptical. Then again, the little guy from Harlem has been at the forefront of club culture since the early 80’s and he knows his stuff. After a string of albums that featured himself on vocals (and not always to good effect), Moby has done what his fans have been wanting for ages, a return to the dance sounds he so brilliantly weaved in the late 80’s to mid 90’s. On his new album Last Night, everything old becomes new again, as he channels hi-NRG, rave, disco and diva vocal dance into an aural blend that is in that Moby kind of way, both retro and current.

 From the Kraftwerk-y synth stabs on “Ooh Yeah” to the diva vocals of “Disco Lies,” this is actually Moby’s most disco friendly album in years, which will be highly pleasing to longtime followers. Rolling piano and strings abound, especially on “Everyday It’s 1989” and “The Stars,” two of the disc’s highlights. On “I Like To Move In Here,” Moby ropes in Grandmaster Caz from the iconic legendary Bronx beat hip hop group, The Cold Crush Brothers.  Not many artists could mix and match Kraftwerk, 80’s house / hip hop beats, piano and diva vocals into something that actually works, but Moby does so with gusto. On “2.5.7. Zero,” it all goes spacey synth pop, heavily reminiscent of a late 80’s Erasure b-side, fun yet not exactly ponderous. Moby just wants to have a good time again. The latter fifteen minutes of Last Night descend into chillout territory with “Sweet Apocalypse” and the title track, keeping consistent with the ‘nightlife theme,’ (Ergo, the chillout songs represent the comedown from a disco driven night out). It works as a concept; not necessarily on this album.  The addition of these ambient songs come off as somewhat tedious retreads of similar past efforts.

 Unlike Play, his 1999 opus and commercial peak fuelled by Alan Lomax southern gospel samples, Last Night is not in any way ground breaking, but more of a longing love letter to the New York City of yesteryear, pre-Giuliani, pre-9/11, pre- all consuming seriousness.  Moby’s recent musical output may even suggest a conscious unwillingness to ‘progress’ musically, but, to be fair whenever he tries (2005’s Hotel which did contain some incredible tracks) it backfires, so he seems content in doing what he does best on Last Night: Disco, divas, beats and synth waves that come rolling out of the ether.