I have two favorite bands. Though I claim to love a plethora of acts, these two stand apart from all the rest in that they can do absolutely no wrong in my eyes. No matter what. Between the two I can't possibly pick a 'favorite favorite'; they're tied in my heart because their music is so astronomically dissimilar that to compare them would be an insult to both of their work. The first is Daft Punk. The second is Fleet Foxes. Sidenote: Maybe this will help to shed some light as to why the music I post on here is so all over the place; my music taste is too.
Fleet Foxes released a new song today via their label, Sub Pop, along with news that their new album is coming on May 3rd. Helplessness Blues is the title track to the album. The chills started at 2:50, after the introduction of the electric guitar. The tears started welling up at 3:10.
Yes, I'm that person.
It's being offered as a free download on the Sub Pop Soundcloud. Get it now.
At this point, I should probably consider renaming LOOSE L!PS “The Josh Harvey Fanclub Blog.” I can’t help but sing his praises. With this post he’s officially become my most-featured artist, but with good reason. Josh Harvey—a.k.a. Hervé, Voodoo Chili, Young Lovers, and The Count—makes sensational music. Coupled with the equally formidable Graeme Sinden, under the moniker The Count & Sinden, the two are unstoppable. Or at least, they very well should be.
Today I’m featuring Addicted to You, a song that by all extents should be an international club and radio crossover sensation. To reiterate; this song should be HUGE. It has all the right elements: a stomping beat, Island-style hip hop vocals reminiscent of Sean Paul, pop culture references (including Denzel Washington and Obama, no less) and the most intoxicating pop chorus I’ve never heard on the radio. There is absolutely no reason I can discern as to why this song isn’t a monster hit. I fully belive that it should be experiencing the same kind of success that David Guetta’s Sexy Bitch (featuring Akon) had on maintream US radio, and in a perfect world should serve to propel The Count & Sinden to international superstardom.
The problem, I would imagine, is in the ‘celebrity’ of both the Count & Sinden and the guest vocalist, Bashy. Regrettably, none of the aforementioned artists have found much success outside of the United Kingdom, though for the life of me I couldn’t tell you why. If formula and talent were the only criteria for mainstream success, MTV would be all over this song. And, I assure you, the public would love it. When I first considered posting this song and the argument that ‘this should be the next great pop song,’ I asked my brother—my toughest critic—his opinion. Having trapped him in my car, I proceeded to blast this song and demand, “Don’t you think this song could be huge?! Like Sexy Bitch?!”
“Well,” he responed, “This doesn’t sound a thing like Sexy Bitch…but yes, definitely.” So there you have it. This song should be huge. Between the irresistible beat, lyrics, performances by all involved musicians, and the excellent music video (featuring Zombies!), this should be the next big thing. Even if I can't figure out why it’s not. So do me, The Count & Sinden, Bashy, and the wide world of music a favor: Buy this song. Hype it up. Tell all your friends.
This is pop music at its finest.
* Note from Mikayla: Everyone, I'm beyond excited to announce the addition of a new writer here at LOOSE L!PS. Meet Russ. He should be popping in from time to time (hopefully regularly) to tackle the indie rock side of things. There are two things about Russ that you should know. First, he is a dude. Second, he doesn't really listen to electronica. So while we are similar enough to be friends in real life, our take on music is bound to be distinctly different. This bi-gendered, bi-genred dynamic should hopefully serve to help bring you a more balanced, multi-faceted, and awesome LOOSE L!PS. Here's to new beginnings. xo
There are a lot of bands out that I feel have overstayed their welcome. Ten years ago they may have put out an awesome record or two, changed the way people felt about music, or even redefined a genre. Then there’s the sound change, the new direction or the inability to live up to all that early success. I’ve learned to take caution when I see a release from one of these bands – disappointment is something I’ve grown accustomed to as of late. Surprisingly enough, one of these bands that I was sure jumped ship in 2008 may have discovered what made their 1997 release Young Team so damn good.
Glasgow’s Mogwai has teamed up with original producer Paul Savage for the awesomely-titled Hardcore Will Never Die, But You Will, which will be released in the U.S. next month on Sub Pop. I cannot stop listening to the record as a whole, but more so it’s the album’s opener White Noise that I can’t get enough of. There’s something about the song that makes me want to just drive around endlessly and aimlessly. The multi guitar-layering, classic Mogwai wall-of-sound feel is totally there, but there’s also a more confident, mature sound that makes it more refreshing than the slew of mediocre of albums (except 2006's Mr. Beast, that one was good!).
In the post-rock, heavily instrumental genre comprised of bands like Mono, Godspeed You! Black Emperor, and Explosions in the Sky, I find myself either easily bored by 16-minute tracks or bogged down in too much noise, too many layers, and a lack of any real hook. White Noise is a fairly simple, melodic song that manages to deliver that gratifying, chill-inducing buildup without feeling too long or overly experimental. It's a song that packs enough atmosphere to hook some new fans as well as appease those who aren't quite ready to give up on the noisy Scots.
I spend a lot of time on the Metro. I'm not complaining, because this time is great for 2 things. First, people watching. Second, listening to music. Generally, during my commutes I try to only listen to French Touch. I think it's only appropriate. While I have hours worth of Daft Punk and DATA and Alan Braxe and Lifelike and Cassius at my disposal, I keep coming back to this song. I really don't have much to say about it except that it is absolutely, jaw-droppingly, body-movingly, hands-wavingly amazing.
LOOSE L!PS favorite Grum gave this track to Data Transmission exclusively back in December (sorry for stealing DT, can you blame me?!). Apparently he uses it a lot in his live sets, though as it's a bootleg he's never released it as an 'official' work. It is a mashup/genius combination of Together's (the year-2000 collaboration between Thomas Bangalter, of Daft Punk, and DJ Falcon) Together, and James Talk & Ridney's March 2010 release, Forever. Though Data Transmission credited the song with the title "Forever Forever", they also incorrectly cited the name of the James Talk & Ridney song in question, so I'm assuming that Together Forever is the correct title. If I'm wrong, someone shoot me. An email.
Bottom line:
Thomas Bangalter, DJ Falcon, James Talk, Ridney, Grum. Get this now.
With everyone up in arms about the new Starfucker album (which really is quite good, stream songs on their bandcamp here), I think this is an appropriate time to ask a question that’s been plaguing me for ages. What is with that name, guys? You aren’t a metal band, you make spirited and accessible indie pop. Hearing your music I’d think more “StarCuddler.” It’s not that I have a problem with curse words—clearly, as I use many of them—but how am I ever supposed to reference the band in public? For example, when my dear old grandma asks me, “What are you kids listening to these days?” am I expected to respond with, “oh, just this awesome group called StarFUCKER”? Or when my dad reads this post because he thinks it makes him hip (hi dad), is he supposed to go into work telling the office they have GOT to listen to these StarFUCKER guys? And does the band really think I’m going to take the time in conversation to spell out their more politically correct abbreviation, S-T-R-F-K-R? Answer: I’m not.
So what am I to do?
I’m going to have to figure it out soon, because Starfucker are rising higher and higher on my radar and I’m finding myself itching to tell everyone I know about them. Their new album Reptilians comes out in March on Polyvinyl, you can pre-order it here and get instant mp3 gratification. It sees the band embracing a more electronic sound while staying true to their glorious pop rock roots. I’ve had a few of the songs on near-constant repeat (note this week’s L!P ST!CK), so despite the troublesome name I’ve got to give credit when it’s due: These guys are great. Let’s hope they remember where they came from (Oregon, yes, but I mean musically), as their past work was just as fun. Released in 2009, their cover of Cyndi Lauper via Robert Hazard’s Girls Just Want to Have Fun is one of my all time favorite covers-of-a-cover. Their version subtracts the 80’s, adds a funky bass, and is all-around genius. I want to hate you Starfucker, but I can’t. I guess grandma is just going to have to deal.
To those of you new to the blog and the Comedown Sunday concept (I would imagine many of you are as my traffic has been steadily growing), let me do a quick refresher. Here was the original mantra: It’s Sunday. Rough. We all know the feeling: you wake up after partying for two or three nights prior, and every part of you hurts. All you want are some pancakes, a shower, and for your raging headache to go away. After blasting pump-up club beats all weekend, the soundtrack for your Sunday should be mellow, melodic, and kept at a low decibel. In light of this I present Comedown Sundays. Need a soundtrack to your recouping, rehydrating, and refocusing on your responsibilities? Comedown Sunday Songs will serve that purpose.
I don’t know about you, but I’m in desperate need of some mellow tunes right now. I thought I knew how to party…then I moved to Europe. Today I’m getting some serious schooling via an aching body and a hazy but incriminating set of memories from last night’s jaunts. Luckily I have the perfect solution to the headache, Dallas’ own Conner Youngbloood. Just 20 years old, he’s been making the blog rounds recently with his savvy self-promotion and the musical chops to back it up. The cool thing is that I actually know this guy. Well, if you count meeting once at a sushi restaurant as ‘knowing’…then we are best friends. Aside from the personal attachment (clearly I take my first-time encounters very seriously), Conner deserves all of the praise I’m about to give him because he makes absolutely beautiful music. Though his catalogue spans a wide variety of genres “from bluegrass to dubstep,” the song that screamed (whispered) Comedown Sunday was the gentle, folky Girl Hair. It reminds me somewhat of old Rogue Wave at their most docile, circa 2004’s Out of the Shadows. It’s features the same type of melodious interweaving of silvery guitars and delicate tenor vocals. The song is sweet, simple, and very much helping to cure my sour mood. Dallas (and the rest of the world for that matter), keep an eye out for Conner.
It is both surprising and tragic that more Americans don’t know who Cassius are. They’re playing here in Paris tonight (I’m so excited I can’t sit still), but I’ve had a hell of a time finding an expat friend to go with me. Having to describe them as “similar to Daft Punk, but without the mainstream stateside success” pains me a bit, but for easy categorization’s sake it’ll do. Plus it helps to piques people’s interest. Why they haven’t achieved the same statewide recognition as say Daft Punk or Justice is beyond me, especially considering how long they’ve been around—15 years—and their Grammy-winning work with other artists (ever heard of the band Phoenix, or their Grammy-winning album, Wolfgang Amedeus Phoenix? Phillipe Zdar produced that). Despite their inability to truly penetrate the American market, they’re absolutely fantastic, and legends in the French house and disco scene. Their feel good brand of French touch is the perfect soundtrack to any party. Or run, for that matter. Speaking of party…remember RESET!? Their remix of Graffiti 6’s Annie You Save Me was one of my favorite tracks of 2010, and since bursting onto the scene last year, this Italian collective is quickly establishing themselves as one of my favorite electronic artists. Their bouncy, fun, occasionally frantic remixes and original productions are the type of joyously groovy numbers I am such a fan of. Never short on energy, their remix of Cassius’ 1999 takes it from sunny house number to verifiable funk-a-thon. I challenge you to try and sit still while listening.
It’s Thursday night in Paris and Yolanda Be Cool is in town. Cool.
To celebrate the occasion I wanted to post a Yolanda Be Cool song, but none really fit with the LOOSE L!PS aesthetic (yes, believe it or not there is an ‘aesthetic’). I could just go the easy route and post We No Speak Americano, but that doesn’t quite fit either, not to mention it is probably the most over-played song of 2010, and I doubt that anyone needs or wants to hear it again (but I do tonight, oh please oh please). So I’m posting another song that isn’t in ‘Americano’. I hope you get my thought process here. Even if you don’t, it’s a great song nonetheless. I give you: Sabali by Amadou & Mariam, remixed by the godly Vitalic. Amadou & Mariam are an Afro-pop duo out of Mali, and Vitalic is French (go figure). Vitalic’s deep bass and twinkling marimba—you can’t go wrong with marimba—mixed with Mariam’s exotic, pitched vocals make this quite the unique remix. The production renders it sexy, and Miriam’s ethereal, almost childlike, vocals make me feel that to label it as such is a bit taboo.
*Disclaimer: This review might very well make me seem like a crazy person.
Do you all remember Perseus? If not, allow me to refresh your memory or introduce you. Perseus were a 3-man electronic outfit spanning 2 different continents, and their remix of the almighty Grum’s Through The Night tore up the charts this past September. Rightfully so, as it can only be described as ‘hot hot hot.’ While their Grum remix was fantastic, their newest undertaking is even better. “But it can’t be done!” you may say. Oh, it can, and it has been. Since September there has been some changes to the Perseus roster, with member Junior leaving the group to pursue solo ventures under the name North Lights (never fear, as the Perseus moniker lives on with the remaining two members). Before the split, the three original members cranked out one last remix together, and the heavens opened and disco Jesus got a new theme song.
No, but seriously. This song is my life right now. Perseus describe it as “Fantastically Fred Falkey, Horribly Miami Horror, and copycat like of Cut Copy,” and indeed, it is exactly that, and miraculously so. It has rendered me the freak who sings along with their iPod on public transportation systems and on the streets. I just can’t help it! The original autoKratz’ vocal line is augmented by the most deliciously shimmering and euphoric synth work I’ve heard yet this year, taking the original song from a thumping little club number to perhaps the greatest modern 80’s style power ballad of recent memory. It’s like unicorns and constellations and Rainbow Bright and flocks of seagulls and every Roland ever made and the 3D-glasses renaissance all got sucked into the engine of a spaceship and when it blew up this song was spontaneously born by some miracle of the synths gods. I want to hear this song playing in every club I ever visit for the rest of my life, and also in space, and also every time I take a shower so I can sing along.
Today’s Comedown Sunday tune is of a slightly darker and more somber nature than usual, but as it is both unique and sultry it deserves the spot. ▽nknown ShΔpes (which I will be referring to as ‘Unknown Shapes’ because I am lazy and hate typing stupid symbols—I’m sorry, but admit it, you know they’re stupid too—in band names) is a brand new producer out of the UK who, despite having a pet-peeve inducing name, makes some really excellent music. I don’t know anything about him (nor do I think does anyone else) other than he is being managed and promoted by Camden’s experimental beatmaker Blue Daisy. He posted a link to a full download of Unknown Shape’s first EP on his Twitter a few days ago, but has opted to let the music speak for itself and refrained from releasing further information. I do think that’s a fairly wise strategy, as this is music that definitely can both speak for itself and hold its own. Unknown Shape’s style is somewhat reminiscent of a less dubby, but just as dark, Burial. The EP is filled with downtempo and gloomy-yet-glistening experimental electronica accented with the occasional vocal sample and driven by the kind of deep bass that you feel in your core rather than hear. If I Should Die opens the album, and the only thing that it leaves me wanting is to know just what might happen if I should indeed die before I wake.
I have a rule where I’ll never post something unless I’ve listened to it—at the very least—3 times. That’s the bare minimum; the usual pre-post play count is most often around 5. Actually let’s be honest, with my tendency to over-play a song to high hell, it’s more like 10. Consequently, it is highly unlikely that this blog is ever going to break the hottest, trendiest, most buzz-worthy tunes before anyone else because of the nature of this personal rule. The thing is, I believe in only posting songs that I am passionately fond of, and I don’t think I can fully judge a song after merely a couple listenings. A few days ago I saw that Sweden's Lykke Li had released a new single. I listened to it once, all the while thinking “damn this is good”. I wanted to post it. Very badly. But I refrained because I have morals and a mantra and they both center something along the lines of “don’t sell yourself short for popularity.” Or something like that. So I didn’t post, and then of course I got busy, time passed me by, and now it looks like I’m late on the uptake, because this song is the new hot ticket. In reality, I’ve had the incredibly catchy, bouncy, and almost tribal-y I Follow Rivers stuck in my head for the past week. The mini-obsession reached a climax today when I found myself whistling the chorus constantly on the Metro, which was garnering me pissed-off looks from the Frenchies. That can only mean one thing: it’s time to post. This song further cements my growing suspicion that Swedes can do no wrong. Also, the piano-driven remix by The Magician is well…nothing short of magical. I can’t decide which I like more—I think I like them equal—so of course I have to post both. Who cares if I am late on the uptake; this train is better caught late than never.
I have about 20 songs lined up to be posted next, but I'm nudging them all back a day (or two, or three, or four) to make way for Xinobi. Like Moullinex--who I featured a few weeks ago--he too is a D.I.S.C.O. Texas member, and so is inherently amazing. A couple weeks ago he released his new song Hawaii for streaming on his SoundCloud. It will be released on his Best of Me EP, which is coming 'soon' on Paris' own Work It Baby. I was going to hold onto this track until just before the release date, but I can't wait for whenever 'soon' is. This song is begging to be posted tonight because the repeated cheering of "ooh! yeah!", infectious bassline, and jubilant wooh-ing, with a riff that sounds like a KC and the Sunshine band sample (but isn't), perfectly sums up my mood. I'M FEELING AWESOME. It's my first Friday night in Paris. And hey, it's your first Friday night this week. Celebrate!
When I upload the week’s new Loose L!p-St!ck Song (see sidebar) I usually refrain from making a hoopla about it. I tend to just casually change the song, then leave you to your own devices to discover it and do further research if it so pleases you. This week is a little different though, and hopefully it will be a welcome break in tradition. You see, I’m having a serious nostalgia trip. This has been manifested in my repeated, nearly unending playing of Death From Above 1979, the greatest punk band ever. Yes, you heard me. Ever. I once read an album review of their classic You’re a Woman, I’m a Machine that described the band perfectly. I can’t remember the source, and I’m paraphrasing to kingdom come, but the message went something like this: There are two types of people in the world, those who love Death From Above 1979, and those who have never heard them. Truth. Motherfuckers.
For all of you who fall into the latter category, I’m glad to introduce you (that’s my intention after all), but conversely sorry to tell you that you missed the boat. Formed in the early 2000’s by Jesse F. Keeler (of modern-day MSTRKRFT fame), and Sebastien Grainger, they erupted in a fury of blast beats, gritty reverb, and post-hardcore misogynism before imploding just a few years later. It is either punk’s greatest tragedy or greatest triumph that the duo never released more than one proper full-length. Tragedy because we the people were robbed of further greatness, triumph because the band essentially avoided ‘the sophomore slump’ and the possibility of ever releasing anything sub-excellent. That said, if there were one band I could resurrect in the history of music-dom, it would be these guys. No other act to date has been quite able to capture the raw energy and angst so conveyed by DFA 1979; and never before nor since has being young, horny, and fucking furious sounded so good.
Ok, so it’s not quite Sunday. I wanted more than anything to post this song yesterday as this week’s Comedown Sunday tune, but I was far too busy packing to get on the computer. So while this is late, it’s not for lack of planning or effort. Just think of it as a Comedown Sunday on a Monday. I've had a whirlwind past 48 hours: I relocated. I’m living in Paris for the next 4 months, though I’m not-so-secretly hoping that I never leave. (Is it wrong to use my blog as a platform to make friends? Oh well: Any Paris readers…get in touch with me, I’m new here and I don’t know anyone.) As for the song, it’s by a French band called Holden that no one I know has ever heard of. I myself don’t quite remember how I stumbled upon them; I think I received their album in one of those random accidental file transfers back in the days of Soulseek. Funny how accidents sometimes have a way of working out for the better, as Holden ended up being one of my favorite go-to chillout bands throughout my teenage years. With their unique blend of indie-rock-cum-bossa-nova styling, capped by lush female vocals (singing the worlds most romantic language—French—no less), Holden create captivating soundscapes invoking languid days and easy living. Madrid, a song about the joy of friendship in light of new adventures and locales, uses dreamily weaving guitars, subtle organ ornamentations, and delicate hi-hats to invoke a placid mood celebrating the pleasures to be found in life’s little adventures. It's the perfect soundtrack to my preparation for a new life abroad.
A week ago I received a track in my dropbox from a certain Datahowler, who described himself a producer/multi instrumentalist which a penchant for vintage sci-fi aesthetic. Seeing as space disco is my favorite genre, I figured I could dig it. Well, as it turns out the song sounds nothing like the type of ‘space’ music I had it mind, but it is just as amazing in its own right. Prophet begins by fading in to a polyphonic, ethereal chorus of “ah’s” undercut by electronic bloops before breaking into soaring synthetic chord progressions held together by unique kick/snare break patterns. It is captivatingly beautiful and indeed otherworldly—its ambient whirls serve to transport you to another time and place. When I snapped out of my music-induced daze, the first thing I did was check to see just who this Datahowler was. That’s when I saw: He’s from Dallas. Finally, I had stumbled upon an independent, self-promoting, inspiringly talented artist right in my own backyard! Of course I then took the next logical step and sent him a frantic email freaking out about how I loved him and we were basically brethren because we were from the same city. Come to think of it I probably sounded like a raging lunatic. Lucky for me he just rolled with it, and here I am today, elated to present you with one of Dallas’ own rising stars.
Datahowler will be playing his first show next Saturday, Januay 15th at Club Dada. If you like what you hear be sure to go out and support him. He’ll be using two MPC’s (here’s an old video of him performing with just one, under a different alias), those little sample devices that I admittedly know nothing about yet am fascinated by, so expect an engaging and unique show rather than the all-too-typical ‘push play on a laptop and go’ type gigs that so many of today’s producers are fond of. Additionally, he just received enough Kickstart funding to finish and package his Slowdrifter album, so keep an eye out for it sometime this month!
I’m having a hip-hop love affair as of late. It started with Kanye’s G.O.O.D. Fridays, when I was first introduced to Miss Nicki Minaj. Though her guest spot on Monster was undeniably genius, when I started reading about her I prematurely decided I hated her. She and her alter egos were just too damn weird. But as time passed and I further explored her work, I realized the error of my ways. Her weirdness is what sets her apart from the rest of the female rap/hip-hop world. Well, that and the fact that she can spit like nobody’s business. Now, I can’t get enough of her. As you might have heard, this past weekend Kanye West’s Monster video leaked. I refuse to post the link or video here until the fully mastered version is made available, because it is so amazing it deserves to only get attention in all of it final polished glory. As I was trolling the internet after having watched the video, girl crushing on Minaj and wishing something half as awesome as Monster existed, I clicked on my SoundCloud and what did I see?! The heavens had opened and STAR SLINGER HAD JUST UPLOADED A NICKI MINAJ REMIX. In typical Star Slinger fashion (who is a genius in his own right), it utlizes choppy and repetitive vocals seamlessly tied together by original synth work, glittering chimes, and subtle bass. I went so far as to say this on the track comments…and I mean it. Star Slinger does it again, ladies and gentlemen (and again, and again, and again). In a month he’s embarking on his first US tour, be sure to check out the dates here, as you absolutely cannot miss him. Seriously. This guy is a legend in the making.
Edit: Haha, my god. I just realized today isn't Sunday. It's only Saturday. Wow...shows you where my head is at. Well, think of this as an early treat for the holiday.
Happy New Year! Can you believe it's already 2011? And that we only have another year before the world ends (via the Mayan calendar)? Shit. I trust that you are all brutally hungover right now, and so it is my pleasure to try and help remedy that by providing you with this year’s first Comedown Sunday tune.
Not only does today mark the start of the New Year, it also marks my 3-week anniversary of marijuana sobriety. If you know me, you’ll know that’s a big deal. I hadn’t gone that long without smoking in three years. Mind you, just because I can pass a drug test doesn't mean I now condemn smoking. It’s just that doing it every day wasn’t really working out for me or my productivity, so I decided it was time for a change. I do, however, still appreciate the world’s greatest herb, and so, in irony and nostalgia, I present you with Michael Franti & Spearhead’s Ganja Babe. In it, Franti—San Francisco’s reigning reggae don—sings about a lover who’s both a smoker and a grower. Sexy. Since we all know that the only surefire hangover cure is a fat blunt followed by indulging in your munchies, usher in your New Year the right way. Save yourself one more day to abstain from vices; your pounding head will thank you. Light one up, put this song on, and watch your pain disappear as you slip into hazy, chilled-out bliss.
